Обзоры

user warning: Incorrect file format 'cache' query: SELECT data, created, headers, expire, serialized FROM cache WHERE cid = 'locale:ru' in /var/www/clients/client1/web13/web/includes/cache.inc on line 25.
warning: htmlspecialchars(): Invalid multibyte sequence in argument in /var/www/clients/client1/web13/web/includes/bootstrap.inc on line 856.
user warning: in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
user warning: Incorrect file format 'cache' query: SELECT data, created, headers, expire, serialized FROM cache WHERE cid = 'schema' in /var/www/clients/client1/web13/web/includes/cache.inc on line 25.
user warning: Incorrect file format 'cache' query: UPDATE cache SET data = 'a:95:{s:6:\"blocks\";a:7:{s:11:\"description\";s:62:\"Stores block settings, such as region and visibility settings.\";s:6:\"fields\";a:13:{s:3:\"bid\";a:3:{s:4:\"type\";s:6:\"serial\";s:8:\"not null\";b:1;s:11:\"description\";s:29:\"Primary Key: Unique block ID.\";}s:6:\"module\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:64;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:126:\"The module from which the block originates; for example, \'user\' for the Who\'s Online block, and \'block\' for any custom blocks.\";}s:5:\"delta\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:32;s:8:\"not null\";b:1;s:7:\"default\";s:1:\"0\";s:11:\"description\";s:36:\"Unique ID for block within a module.\";}s:5:\"theme\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:64;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:47:\"The theme under which the block settings apply.\";}s:6:\"status\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:49:\"Block enabled status. (1 = enabled, 0 = disabled)\";}s:6:\"weight\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:27:\"Block weight within region.\";}s:6:\"region\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:64;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:43:\"Theme region within which the block is set.\";}s:6:\"custom\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:169:\"Flag to indicate how users may control visibility of the block. (0 = Users cannot control, 1 = On by default, but can be hidden, 2 = Hidden by default, but can be shown)\";}s:8:\"throttle\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:113:\"Flag to indicate whether or not to remove block when website traffic is high. (1 = throttle, 0 = do not throttle)\";}s:10:\"visibility\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:169:\"Flag to indicate how to show blocks on pages. (0 = Show on all pages except listed pages, 1 = Show only on listed pages, 2 = Use custom PHP code to determine visibility)\";}s:5:\"pages\";a:3:{s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:1;s:11:\"description\";s:148:\"Contents of the \"Pages\" block; contains either a list of paths on which to include/exclude the block or PHP code, depending on \"visibility\" setting.\";}s:5:\"title\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:64;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:154:\"Custom title for the block. (Empty string will use block default title, <none> will remove the title, text will cause block to use specified title.)\";}s:5:\"cache\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:1;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:215:\"Binary flag to indicate block cache mode. (-1: Do not cache, 1: Cache per role, 2: Cache per user, 4: Cache per page, 8: Block cache global) See BLOCK_CACHE_* constants in block.module for more detailed information.\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"bid\";}s:11:\"unique keys\";a:1:{s:3:\"tmd\";a:3:{i:0;s:5:\"theme\";i:1;s:6:\"module\";i:2;s:5:\"delta\";}}s:7:\"indexes\";a:1:{s:4:\"list\";a:5:{i:0;s:5:\"theme\";i:1;s:6:\"status\";i:2;s:6:\"region\";i:3;s:6:\"weight\";i:4;s:6:\"module\";}}s:6:\"module\";s:5:\"block\";s:4:\"name\";s:6:\"blocks\";}s:12:\"blocks_roles\";a:6:{s:11:\"description\";s:57:\"Sets up access permissions for blocks based on user roles\";s:6:\"fields\";a:3:{s:6:\"module\";a:4:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:64;s:8:\"not null\";b:1;s:11:\"description\";s:48:\"The block\'s origin module, from {blocks}.module.\";}s:5:\"delta\";a:4:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:32;s:8:\"not null\";b:1;s:11:\"description\";s:60:\"The block\'s unique delta within module, from {blocks}.delta.\";}s:3:\"rid\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:11:\"description\";s:42:\"The user\'s role ID from {users_roles}.rid.\";}}s:11:\"primary key\";a:3:{i:0;s:6:\"module\";i:1;s:5:\"delta\";i:2;s:3:\"rid\";}s:7:\"indexes\";a:1:{s:3:\"rid\";a:1:{i:0;s:3:\"rid\";}}s:6:\"module\";s:5:\"block\";s:4:\"name\";s:12:\"blocks_roles\";}s:5:\"boxes\";a:6:{s:11:\"description\";s:38:\"Stores contents of custom-made blocks.\";s:6:\"fields\";a:4:{s:3:\"bid\";a:4:{s:4:\"type\";s:6:\"serial\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:11:\"description\";s:25:\"The block\'s {blocks}.bid.\";}s:4:\"body\";a:4:{s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:0;s:4:\"size\";s:3:\"big\";s:11:\"description\";s:15:\"Block contents.\";}s:4:\"info\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:128;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:18:\"Block description.\";}s:6:\"format\";a:5:{s:4:\"type\";s:3:\"int\";s:4:\"size\";s:5:\"small\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:69:\"Block body\'s {filter_formats}.format; for example, 1 = Filtered HTML.\";}}s:11:\"unique keys\";a:1:{s:4:\"info\";a:1:{i:0;s:4:\"info\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"bid\";}s:6:\"module\";s:5:\"block\";s:4:\"name\";s:5:\"boxes\";}s:11:\"cache_block\";a:6:{s:11:\"description\";s:204:\"Cache table for the Block module to store already built blocks, identified by module, delta, and various contexts which may change the block, such as theme, locale, and caching mode defined for the block.\";s:6:\"fields\";a:6:{s:3:\"cid\";a:5:{s:11:\"description\";s:29:\"Primary Key: Unique cache ID.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:4:\"data\";a:4:{s:11:\"description\";s:30:\"A collection of data to cache.\";s:4:\"type\";s:4:\"blob\";s:8:\"not null\";b:0;s:4:\"size\";s:3:\"big\";}s:6:\"expire\";a:4:{s:11:\"description\";s:79:\"A Unix timestamp indicating when the cache entry should expire, or 0 for never.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:7:\"created\";a:4:{s:11:\"description\";s:61:\"A Unix timestamp indicating when the cache entry was created.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:7:\"headers\";a:3:{s:11:\"description\";s:51:\"Any custom HTTP headers to be added to cached data.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:0;}s:10:\"serialized\";a:5:{s:11:\"description\";s:64:\"A flag to indicate whether content is serialized (1) or not (0).\";s:4:\"type\";s:3:\"int\";s:4:\"size\";s:5:\"small\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}}s:7:\"indexes\";a:1:{s:6:\"expire\";a:1:{i:0;s:6:\"expire\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"cid\";}s:6:\"module\";s:5:\"block\";s:4:\"name\";s:11:\"cache_block\";}s:7:\"filters\";a:7:{s:11:\"description\";s:74:\"Table that maps filters (HTML corrector) to input formats (Filtered HTML).\";s:6:\"fields\";a:5:{s:3:\"fid\";a:3:{s:4:\"type\";s:6:\"serial\";s:8:\"not null\";b:1;s:11:\"description\";s:41:\"Primary Key: Auto-incrementing filter ID.\";}s:6:\"format\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:74:\"Foreign key: The {filter_formats}.format to which this filter is assigned.\";}s:6:\"module\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:64;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:32:\"The origin module of the filter.\";}s:5:\"delta\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:62:\"ID to identify which filter within module is being referenced.\";}s:6:\"weight\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:31:\"Weight of filter within format.\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"fid\";}s:11:\"unique keys\";a:1:{s:3:\"fmd\";a:3:{i:0;s:6:\"format\";i:1;s:6:\"module\";i:2;s:5:\"delta\";}}s:7:\"indexes\";a:1:{s:4:\"list\";a:4:{i:0;s:6:\"format\";i:1;s:6:\"weight\";i:2;s:6:\"module\";i:3;s:5:\"delta\";}}s:6:\"module\";s:6:\"filter\";s:4:\"name\";s:7:\"filters\";}s:14:\"filter_formats\";a:6:{s:11:\"description\";s:73:\"Stores input formats: custom groupings of filters, such as Filtered HTML.\";s:6:\"fields\";a:4:{s:6:\"format\";a:3:{s:4:\"type\";s:6:\"serial\";s:8:\"not null\";b:1;s:11:\"description\";s:34:\"Primary Key: Unique ID for format.\";}s:4:\"name\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:41:\"Name of the input format (Filtered HTML).\";}s:5:\"roles\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:57:\"A comma-separated string of roles; references {role}.rid.\";}s:5:\"cache\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:77:\"Flag to indicate whether format is cachable. (1 = cachable, 0 = not cachable)\";}}s:11:\"primary key\";a:1:{i:0;s:6:\"format\";}s:11:\"unique keys\";a:1:{s:4:\"name\";a:1:{i:0;s:4:\"name\";}}s:6:\"module\";s:6:\"filter\";s:4:\"name\";s:14:\"filter_formats\";}s:12:\"cache_filter\";a:6:{s:11:\"description\";s:128:\"Cache table for the Filter module to store already filtered pieces of text, identified by input format and md5 hash of the text.\";s:6:\"fields\";a:6:{s:3:\"cid\";a:5:{s:11:\"description\";s:29:\"Primary Key: Unique cache ID.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:4:\"data\";a:4:{s:11:\"description\";s:30:\"A collection of data to cache.\";s:4:\"type\";s:4:\"blob\";s:8:\"not null\";b:0;s:4:\"size\";s:3:\"big\";}s:6:\"expire\";a:4:{s:11:\"description\";s:79:\"A Unix timestamp indicating when the cache entry should expire, or 0 for never.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:7:\"created\";a:4:{s:11:\"description\";s:61:\"A Unix timestamp indicating when the cache entry was created.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:7:\"headers\";a:3:{s:11:\"description\";s:51:\"Any custom HTTP headers to be added to cached data.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:0;}s:10:\"serialized\";a:5:{s:11:\"description\";s:64:\"A flag to indicate whether content is serialized (1) or not (0).\";s:4:\"type\";s:3:\"int\";s:4:\"size\";s:5:\"small\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}}s:7:\"indexes\";a:1:{s:6:\"expire\";a:1:{i:0;s:6:\"expire\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"cid\";}s:6:\"module\";s:6:\"filter\";s:4:\"name\";s:12:\"cache_filter\";}s:9:\"languages\";a:6:{s:11:\"description\";s:46:\"List of all available languages in the system.\";s:6:\"fields\";a:11:{s:8:\"language\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:12;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:36:\"Language code, e.g. \'de\' or \'en-US\'.\";}s:4:\"name\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:64;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:25:\"Language name in English.\";}s:6:\"native\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:64;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:21:\"Native language name.\";}s:9:\"direction\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:61:\"Direction of language (Left-to-Right = 0, Right-to-Left = 1).\";}s:7:\"enabled\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:41:\"Enabled flag (1 = Enabled, 0 = Disabled).\";}s:7:\"plurals\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:42:\"Number of plural indexes in this language.\";}s:7:\"formula\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:128;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:61:\"Plural formula in PHP code to evaluate to get plural indexes.\";}s:6:\"domain\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:128;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:32:\"Domain to use for this language.\";}s:6:\"prefix\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:128;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:37:\"Path prefix to use for this language.\";}s:6:\"weight\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:35:\"Weight, used in lists of languages.\";}s:10:\"javascript\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:32;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:40:\"Location of JavaScript translation file.\";}}s:11:\"primary key\";a:1:{i:0;s:8:\"language\";}s:7:\"indexes\";a:1:{s:4:\"list\";a:2:{i:0;s:6:\"weight\";i:1;s:4:\"name\";}}s:6:\"module\";s:6:\"locale\";s:4:\"name\";s:9:\"languages\";}s:14:\"locales_source\";a:6:{s:11:\"description\";s:31:\"List of English source strings.\";s:6:\"fields\";a:5:{s:3:\"lid\";a:3:{s:4:\"type\";s:6:\"serial\";s:8:\"not null\";b:1;s:11:\"description\";s:33:\"Unique identifier of this string.\";}s:8:\"location\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:95:\"Drupal path in case of online discovered translations or file path in case of imported strings.\";}s:9:\"textgroup\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:7:\"default\";s:11:\"description\";s:58:\"A module defined group of translations, see hook_locale().\";}s:6:\"source\";a:4:{s:4:\"type\";s:4:\"text\";s:10:\"mysql_type\";s:4:\"blob\";s:8:\"not null\";b:1;s:11:\"description\";s:31:\"The original string in English.\";}s:7:\"version\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:20;s:8:\"not null\";b:1;s:7:\"default\";s:4:\"none\";s:11:\"description\";s:77:\"Version of Drupal, where the string was last used (for locales optimization).\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"lid\";}s:7:\"indexes\";a:1:{s:6:\"source\";a:1:{i:0;a:2:{i:0;s:6:\"source\";i:1;i:30;}}}s:6:\"module\";s:6:\"locale\";s:4:\"name\";s:14:\"locales_source\";}s:14:\"locales_target\";a:6:{s:11:\"description\";s:38:\"Stores translated versions of strings.\";s:6:\"fields\";a:5:{s:3:\"lid\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:50:\"Source string ID. References {locales_source}.lid.\";}s:11:\"translation\";a:4:{s:4:\"type\";s:4:\"text\";s:10:\"mysql_type\";s:4:\"blob\";s:8:\"not null\";b:1;s:11:\"description\";s:42:\"Translation string value in this language.\";}s:8:\"language\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:12;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:47:\"Language code. References {languages}.language.\";}s:4:\"plid\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:119:\"Parent lid (lid of the previous string in the plural chain) in case of plural strings. References {locales_source}.lid.\";}s:6:\"plural\";a:4:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:46:\"Plural index number in case of plural strings.\";}}s:11:\"primary key\";a:3:{i:0;s:8:\"language\";i:1;s:3:\"lid\";i:2;s:6:\"plural\";}s:7:\"indexes\";a:3:{s:3:\"lid\";a:1:{i:0;s:3:\"lid\";}s:4:\"plid\";a:1:{i:0;s:4:\"plid\";}s:6:\"plural\";a:1:{i:0;s:6:\"plural\";}}s:6:\"module\";s:6:\"locale\";s:4:\"name\";s:14:\"locales_target\";}s:11:\"menu_custom\";a:5:{s:11:\"description\";s:74:\"Holds definitions for top-level custom menus (for example, Primary Links).\";s:6:\"fields\";a:3:{s:9:\"menu_name\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:32;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:80:\"Primary Key: Unique key for menu. This is used as a block delta so length is 32.\";}s:5:\"title\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:38:\"Menu title; displayed at top of block.\";}s:11:\"description\";a:3:{s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:0;s:11:\"description\";s:17:\"Menu description.\";}}s:11:\"primary key\";a:1:{i:0;s:9:\"menu_name\";}s:6:\"module\";s:4:\"menu\";s:4:\"name\";s:11:\"menu_custom\";}s:4:\"node\";a:7:{s:11:\"description\";s:25:\"The base table for nodes.\";s:6:\"fields\";a:15:{s:3:\"nid\";a:4:{s:11:\"description\";s:34:\"The primary identifier for a node.\";s:4:\"type\";s:6:\"serial\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;}s:3:\"vid\";a:5:{s:11:\"description\";s:52:\"The current {node_revisions}.vid version identifier.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:4:\"type\";a:5:{s:11:\"description\";s:34:\"The {node_type}.type of this node.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:32;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:8:\"language\";a:5:{s:11:\"description\";s:38:\"The {languages}.language of this node.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:12;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:5:\"title\";a:5:{s:11:\"description\";s:64:\"The title of this node, always treated as non-markup plain text.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:3:\"uid\";a:4:{s:11:\"description\";s:81:\"The {users}.uid that owns this node; initially, this is the user that created it.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:6:\"status\";a:4:{s:11:\"description\";s:81:\"Boolean indicating whether the node is published (visible to non-administrators).\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:1;}s:7:\"created\";a:4:{s:11:\"description\";s:45:\"The Unix timestamp when the node was created.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:7:\"changed\";a:4:{s:11:\"description\";s:57:\"The Unix timestamp when the node was most recently saved.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:7:\"comment\";a:4:{s:11:\"description\";s:81:\"Whether comments are allowed on this node: 0 = no, 1 = read only, 2 = read/write.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:7:\"promote\";a:4:{s:11:\"description\";s:74:\"Boolean indicating whether the node should be displayed on the front page.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:8:\"moderate\";a:4:{s:11:\"description\";s:93:\"Previously, a boolean indicating whether the node was \"in moderation\"; mostly no longer used.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:6:\"sticky\";a:4:{s:11:\"description\";s:96:\"Boolean indicating whether the node should be displayed at the top of lists in which it appears.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:4:\"tnid\";a:5:{s:11:\"description\";s:94:\"The translation set id for this node, which equals the node id of the source post in each set.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:9:\"translate\";a:4:{s:11:\"description\";s:71:\"A boolean indicating whether this translation page needs to be updated.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}}s:7:\"indexes\";a:10:{s:12:\"node_changed\";a:1:{i:0;s:7:\"changed\";}s:12:\"node_created\";a:1:{i:0;s:7:\"created\";}s:13:\"node_moderate\";a:1:{i:0;s:8:\"moderate\";}s:19:\"node_promote_status\";a:2:{i:0;s:7:\"promote\";i:1;s:6:\"status\";}s:16:\"node_status_type\";a:3:{i:0;s:6:\"status\";i:1;s:4:\"type\";i:2;s:3:\"nid\";}s:15:\"node_title_type\";a:2:{i:0;s:5:\"title\";i:1;a:2:{i:0;s:4:\"type\";i:1;i:4;}}s:9:\"node_type\";a:1:{i:0;a:2:{i:0;s:4:\"type\";i:1;i:4;}}s:3:\"uid\";a:1:{i:0;s:3:\"uid\";}s:4:\"tnid\";a:1:{i:0;s:4:\"tnid\";}s:9:\"translate\";a:1:{i:0;s:9:\"translate\";}}s:11:\"unique keys\";a:1:{s:3:\"vid\";a:1:{i:0;s:3:\"vid\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"nid\";}s:6:\"module\";s:4:\"node\";s:4:\"name\";s:4:\"node\";}s:11:\"node_access\";a:5:{s:11:\"description\";s:106:\"Identifies which realm/grant pairs a user must possess in order to view, update, or delete specific nodes.\";s:6:\"fields\";a:6:{s:3:\"nid\";a:5:{s:11:\"description\";s:35:\"The {node}.nid this record affects.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:3:\"gid\";a:5:{s:11:\"description\";s:98:\"The grant ID a user must possess in the specified realm to gain this row\'s privileges on the node.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:5:\"realm\";a:5:{s:11:\"description\";s:107:\"The realm in which the user must possess the grant ID. Each node access node can define one or more realms.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:10:\"grant_view\";a:6:{s:11:\"description\";s:79:\"Boolean indicating whether a user with the realm/grant pair can view this node.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";}s:12:\"grant_update\";a:6:{s:11:\"description\";s:79:\"Boolean indicating whether a user with the realm/grant pair can edit this node.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";}s:12:\"grant_delete\";a:6:{s:11:\"description\";s:81:\"Boolean indicating whether a user with the realm/grant pair can delete this node.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";}}s:11:\"primary key\";a:3:{i:0;s:3:\"nid\";i:1;s:3:\"gid\";i:2;s:5:\"realm\";}s:6:\"module\";s:4:\"node\";s:4:\"name\";s:11:\"node_access\";}s:12:\"node_counter\";a:5:{s:11:\"description\";s:30:\"Access statistics for {node}s.\";s:6:\"fields\";a:4:{s:3:\"nid\";a:4:{s:11:\"description\";s:36:\"The {node}.nid for these statistics.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:10:\"totalcount\";a:6:{s:11:\"description\";s:53:\"The total number of times the {node} has been viewed.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:3:\"big\";}s:8:\"daycount\";a:6:{s:11:\"description\";s:59:\"The total number of times the {node} has been viewed today.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:6:\"medium\";}s:9:\"timestamp\";a:5:{s:11:\"description\";s:48:\"The most recent time the {node} has been viewed.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}}s:11:\"primary key\";a:1:{i:0;s:3:\"nid\";}s:6:\"module\";s:4:\"node\";s:4:\"name\";s:12:\"node_counter\";}s:14:\"node_revisions\";a:6:{s:11:\"description\";s:56:\"Stores information about each saved version of a {node}.\";s:6:\"fields\";a:9:{s:3:\"nid\";a:5:{s:11:\"description\";s:35:\"The {node} this version belongs to.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:3:\"vid\";a:4:{s:11:\"description\";s:40:\"The primary identifier for this version.\";s:4:\"type\";s:6:\"serial\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;}s:3:\"uid\";a:4:{s:11:\"description\";s:42:\"The {users}.uid that created this version.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:5:\"title\";a:5:{s:11:\"description\";s:26:\"The title of this version.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:4:\"body\";a:4:{s:11:\"description\";s:25:\"The body of this version.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:1;s:4:\"size\";s:3:\"big\";}s:6:\"teaser\";a:4:{s:11:\"description\";s:27:\"The teaser of this version.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:1;s:4:\"size\";s:3:\"big\";}s:3:\"log\";a:4:{s:11:\"description\";s:53:\"The log entry explaining the changes in this version.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:1;s:4:\"size\";s:3:\"big\";}s:9:\"timestamp\";a:4:{s:11:\"description\";s:58:\"A Unix timestamp indicating when this version was created.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:6:\"format\";a:4:{s:11:\"description\";s:45:\"The input format used by this version\'s body.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}}s:7:\"indexes\";a:2:{s:3:\"nid\";a:1:{i:0;s:3:\"nid\";}s:3:\"uid\";a:1:{i:0;s:3:\"uid\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"vid\";}s:6:\"module\";s:4:\"node\";s:4:\"name\";s:14:\"node_revisions\";}s:9:\"node_type\";a:5:{s:11:\"description\";s:50:\"Stores information about all defined {node} types.\";s:6:\"fields\";a:14:{s:4:\"type\";a:4:{s:11:\"description\";s:39:\"The machine-readable name of this type.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:32;s:8:\"not null\";b:1;}s:4:\"name\";a:5:{s:11:\"description\";s:37:\"The human-readable name of this type.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:6:\"module\";a:4:{s:11:\"description\";s:76:\"The base string used to construct callbacks corresponding to this node type.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;}s:11:\"description\";a:4:{s:11:\"description\";s:33:\"A brief description of this type.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:1;s:4:\"size\";s:6:\"medium\";}s:4:\"help\";a:4:{s:11:\"description\";s:71:\"Help information shown to the user when creating a {node} of this type.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:1;s:4:\"size\";s:6:\"medium\";}s:9:\"has_title\";a:5:{s:11:\"description\";s:65:\"Boolean indicating whether this type uses the {node}.title field.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:4:\"size\";s:4:\"tiny\";}s:11:\"title_label\";a:5:{s:11:\"description\";s:57:\"The label displayed for the title field on the edit form.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:8:\"has_body\";a:5:{s:11:\"description\";s:74:\"Boolean indicating whether this type uses the {node_revisions}.body field.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:4:\"size\";s:4:\"tiny\";}s:10:\"body_label\";a:5:{s:11:\"description\";s:56:\"The label displayed for the body field on the edit form.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:14:\"min_word_count\";a:5:{s:11:\"description\";s:50:\"The minimum number of words the body must contain.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:4:\"size\";s:5:\"small\";}s:6:\"custom\";a:5:{s:11:\"description\";s:137:\"A boolean indicating whether this type is defined by a module (FALSE) or by a user via a module like the Content Construction Kit (TRUE).\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";}s:8:\"modified\";a:5:{s:11:\"description\";s:108:\"A boolean indicating whether this type has been modified by an administrator; currently not used in any way.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";}s:6:\"locked\";a:5:{s:11:\"description\";s:88:\"A boolean indicating whether the administrator can change the machine name of this type.\";s:4:\"type\";s:3:\"int\";s:8:\"not 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For pages that are not local tasks, this will be the same as the path.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:5:\"title\";a:5:{s:11:\"description\";s:81:\"The title for the current page, or the title for the tab if this is a local task.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:14:\"title_callback\";a:5:{s:11:\"description\";s:54:\"A function which will alter the title. Defaults to t()\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:15:\"title_arguments\";a:5:{s:11:\"description\";s:133:\"A serialized array of arguments for the title callback. If empty, the title will be used as the sole argument for the title callback.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:4:\"type\";a:4:{s:11:\"description\";s:74:\"Numeric representation of the type of the menu item, like MENU_LOCAL_TASK.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:14:\"block_callback\";a:5:{s:11:\"description\";s:92:\"Name of a function used to render the block on the system administration page for this item.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:11:\"description\";a:3:{s:11:\"description\";s:27:\"A description of this item.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:1;}s:8:\"position\";a:5:{s:11:\"description\";s:90:\"The position of the block (left or right) on the system administration page for this item.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:6:\"weight\";a:4:{s:11:\"description\";s:78:\"Weight of the element. Lighter weights are higher up, heavier weights go down.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:4:\"file\";a:3:{s:11:\"description\";s:92:\"The file to include for this element, usually the page callback function lives in this file.\";s:4:\"type\";s:4:\"text\";s:4:\"size\";s:6:\"medium\";}}s:7:\"indexes\";a:3:{s:3:\"fit\";a:1:{i:0;s:3:\"fit\";}s:10:\"tab_parent\";a:1:{i:0;s:10:\"tab_parent\";}s:21:\"tab_root_weight_title\";a:3:{i:0;a:2:{i:0;s:8:\"tab_root\";i:1;i:64;}i:1;s:6:\"weight\";i:2;s:5:\"title\";}}s:11:\"primary key\";a:1:{i:0;s:4:\"path\";}s:6:\"module\";s:6:\"system\";s:4:\"name\";s:11:\"menu_router\";}s:10:\"menu_links\";a:6:{s:11:\"description\";s:44:\"Contains the individual links within a menu.\";s:6:\"fields\";a:25:{s:9:\"menu_name\";a:5:{s:11:\"description\";s:98:\"The menu name. 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(1 = a disabled menu item that may be shown on admin screens, -1 = a menu callback, 0 = a normal, visible link)\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:5:\"small\";}s:8:\"external\";a:5:{s:11:\"description\";s:120:\"A flag to indicate if the link points to a full URL starting with a protocol, like http:// (1 = external, 0 = internal).\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:5:\"small\";}s:12:\"has_children\";a:5:{s:11:\"description\";s:99:\"Flag indicating whether any links have this link as a parent (1 = children exist, 0 = no children).\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:5:\"small\";}s:8:\"expanded\";a:5:{s:11:\"description\";s:210:\"Flag for whether this link should be rendered as expanded in menus - expanded links always have their child links displayed, instead of only when the link is in the active trail (1 = expanded, 0 = not expanded)\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:5:\"small\";}s:6:\"weight\";a:4:{s:11:\"description\";s:59:\"Link weight among links in the same menu at the same depth.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:5:\"depth\";a:5:{s:11:\"description\";s:80:\"The depth relative to the top level. 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See p1.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:2:\"p3\";a:5:{s:11:\"description\";s:48:\"The third mlid in the materialized path. See p1.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:2:\"p4\";a:5:{s:11:\"description\";s:49:\"The fourth mlid in the materialized path. See p1.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:2:\"p5\";a:5:{s:11:\"description\";s:48:\"The fifth mlid in the materialized path. See p1.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:2:\"p6\";a:5:{s:11:\"description\";s:48:\"The sixth mlid in the materialized path. See p1.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:2:\"p7\";a:5:{s:11:\"description\";s:50:\"The seventh mlid in the materialized path. See p1.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:2:\"p8\";a:5:{s:11:\"description\";s:49:\"The eighth mlid in the materialized path. See p1.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:2:\"p9\";a:5:{s:11:\"description\";s:48:\"The ninth mlid in the materialized path. See p1.\";s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:7:\"updated\";a:5:{s:11:\"description\";s:81:\"Flag that indicates that this link was generated during the update from Drupal 5.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:5:\"small\";}}s:7:\"indexes\";a:4:{s:9:\"path_menu\";a:2:{i:0;a:2:{i:0;s:9:\"link_path\";i:1;i:128;}i:1;s:9:\"menu_name\";}s:22:\"menu_plid_expand_child\";a:4:{i:0;s:9:\"menu_name\";i:1;s:4:\"plid\";i:2;s:8:\"expanded\";i:3;s:12:\"has_children\";}s:12:\"menu_parents\";a:10:{i:0;s:9:\"menu_name\";i:1;s:2:\"p1\";i:2;s:2:\"p2\";i:3;s:2:\"p3\";i:4;s:2:\"p4\";i:5;s:2:\"p5\";i:6;s:2:\"p6\";i:7;s:2:\"p7\";i:8;s:2:\"p8\";i:9;s:2:\"p9\";}s:11:\"router_path\";a:1:{i:0;a:2:{i:0;s:11:\"router_path\";i:1;i:128;}}}s:11:\"primary key\";a:1:{i:0;s:4:\"mlid\";}s:6:\"module\";s:6:\"system\";s:4:\"name\";s:10:\"menu_links\";}s:9:\"semaphore\";a:6:{s:11:\"description\";s:121:\"Table for holding semaphores, locks, flags, etc. that cannot be stored as Drupal variables since they must not be cached.\";s:6:\"fields\";a:3:{s:4:\"name\";a:5:{s:11:\"description\";s:25:\"Primary Key: Unique name.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:5:\"value\";a:5:{s:11:\"description\";s:8:\"A value.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:6:\"expire\";a:4:{s:11:\"description\";s:79:\"A Unix timestamp with microseconds indicating when the semaphore should expire.\";s:4:\"type\";s:5:\"float\";s:4:\"size\";s:3:\"big\";s:8:\"not null\";b:1;}}s:7:\"indexes\";a:1:{s:6:\"expire\";a:1:{i:0;s:6:\"expire\";}}s:11:\"primary key\";a:1:{i:0;s:4:\"name\";}s:6:\"module\";s:6:\"system\";s:4:\"name\";s:9:\"semaphore\";}s:8:\"sessions\";a:6:{s:11:\"description\";s:139:\"Drupal\'s session handlers read and write into the sessions table. 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Equal-weighted modules are ordered by name.\";s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;}s:4:\"info\";a:3:{s:11:\"description\";s:166:\"A serialized array containing information from the module\'s .info file; keys can include name, description, package, version, core, dependencies, dependents, and php.\";s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:0;}}s:11:\"primary key\";a:1:{i:0;s:8:\"filename\";}s:7:\"indexes\";a:3:{s:7:\"modules\";a:4:{i:0;a:2:{i:0;s:4:\"type\";i:1;i:12;}i:1;s:6:\"status\";i:2;s:6:\"weight\";i:3;s:8:\"filename\";}s:9:\"bootstrap\";a:5:{i:0;a:2:{i:0;s:4:\"type\";i:1;i:12;}i:1;s:6:\"status\";i:2;s:9:\"bootstrap\";i:3;s:6:\"weight\";i:4;s:8:\"filename\";}s:9:\"type_name\";a:2:{i:0;a:2:{i:0;s:4:\"type\";i:1;i:12;}i:1;s:4:\"name\";}}s:6:\"module\";s:6:\"system\";s:4:\"name\";s:6:\"system\";}s:9:\"url_alias\";a:7:{s:11:\"description\";s:95:\"A list of URL aliases for Drupal paths; a user may visit either the source or destination path.\";s:6:\"fields\";a:4:{s:3:\"pid\";a:4:{s:11:\"description\";s:31:\"A unique path alias identifier.\";s:4:\"type\";s:6:\"serial\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;}s:3:\"src\";a:5:{s:11:\"description\";s:48:\"The Drupal path this alias is for; e.g. node/12.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:128;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:3:\"dst\";a:5:{s:11:\"description\";s:49:\"The alias for this path; e.g. title-of-the-story.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:128;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:8:\"language\";a:5:{s:11:\"description\";s:151:\"The language this alias is for; if blank, the alias will be used for unknown languages. 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assigned.\";}s:4:\"name\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:14:\"The term name.\";}s:11:\"description\";a:4:{s:4:\"type\";s:4:\"text\";s:8:\"not null\";b:0;s:4:\"size\";s:3:\"big\";s:11:\"description\";s:26:\"A description of the term.\";}s:6:\"weight\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:51:\"The weight of this term in relation to other terms.\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"tid\";}s:7:\"indexes\";a:2:{s:13:\"taxonomy_tree\";a:3:{i:0;s:3:\"vid\";i:1;s:6:\"weight\";i:2;s:4:\"name\";}s:8:\"vid_name\";a:2:{i:0;s:3:\"vid\";i:1;s:4:\"name\";}}s:6:\"module\";s:8:\"taxonomy\";s:4:\"name\";s:9:\"term_data\";}s:14:\"term_hierarchy\";a:6:{s:11:\"description\";s:51:\"Stores the hierarchical relationship between terms.\";s:6:\"fields\";a:2:{s:3:\"tid\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:45:\"Primary Key: The {term_data}.tid of the term.\";}s:6:\"parent\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:77:\"Primary Key: The {term_data}.tid of the term\'s parent. 0 indicates no parent.\";}}s:7:\"indexes\";a:1:{s:6:\"parent\";a:1:{i:0;s:6:\"parent\";}}s:11:\"primary key\";a:2:{i:0;s:3:\"tid\";i:1;s:6:\"parent\";}s:6:\"module\";s:8:\"taxonomy\";s:4:\"name\";s:14:\"term_hierarchy\";}s:9:\"term_node\";a:6:{s:11:\"description\";s:42:\"Stores the relationship of terms to nodes.\";s:6:\"fields\";a:3:{s:3:\"nid\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:40:\"Primary Key: The {node}.nid of the node.\";}s:3:\"vid\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:40:\"Primary Key: The {node}.vid of the node.\";}s:3:\"tid\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:64:\"Primary Key: The {term_data}.tid of a term assigned to the node.\";}}s:7:\"indexes\";a:2:{s:3:\"vid\";a:1:{i:0;s:3:\"vid\";}s:3:\"nid\";a:1:{i:0;s:3:\"nid\";}}s:11:\"primary key\";a:2:{i:0;s:3:\"tid\";i:1;s:3:\"vid\";}s:6:\"module\";s:8:\"taxonomy\";s:4:\"name\";s:9:\"term_node\";}s:13:\"term_relation\";a:7:{s:11:\"description\";s:52:\"Stores non-hierarchical relationships between terms.\";s:6:\"fields\";a:3:{s:4:\"trid\";a:3:{s:4:\"type\";s:6:\"serial\";s:8:\"not null\";b:1;s:11:\"description\";s:37:\"Primary Key: Unique term relation ID.\";}s:4:\"tid1\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:56:\"The {term_data}.tid of the first term in a relationship.\";}s:4:\"tid2\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not 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(0 = disabled, 1 = enabled)\";}s:4:\"tags\";a:6:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:86:\"Whether or not free tagging is enabled for the vocabulary. (0 = disabled, 1 = enabled)\";}s:6:\"module\";a:5:{s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:255;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";s:11:\"description\";s:40:\"The module which created the vocabulary.\";}s:6:\"weight\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"not null\";b:1;s:7:\"default\";i:0;s:4:\"size\";s:4:\"tiny\";s:11:\"description\";s:63:\"The weight of the vocabulary in relation to other vocabularies.\";}}s:11:\"primary key\";a:1:{i:0;s:3:\"vid\";}s:7:\"indexes\";a:1:{s:4:\"list\";a:2:{i:0;s:6:\"weight\";i:1;s:4:\"name\";}}s:6:\"module\";s:8:\"taxonomy\";s:4:\"name\";s:10:\"vocabulary\";}s:21:\"vocabulary_node_types\";a:6:{s:11:\"description\";s:54:\"Stores which node types vocabularies may be used with.\";s:6:\"fields\";a:2:{s:3:\"vid\";a:5:{s:4:\"type\";s:3:\"int\";s:8:\"unsigned\";b:1;s:8:\"not null\";b:1;s:7:\"default\";i:0;s:11:\"description\";s:52:\"Primary Key: the {vocabulary}.vid of the 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null\";b:1;s:7:\"default\";i:0;}s:4:\"name\";a:5:{s:11:\"description\";s:18:\"The meta tag name.\";s:4:\"type\";s:7:\"varchar\";s:6:\"length\";i:32;s:8:\"not null\";b:1;s:7:\"default\";s:0:\"\";}s:7:\"content\";a:4:{s:11:\"description\";s:28:\"The content of the meta tag.\";s:4:\"type\";s:4:\"text\";s:4:\"size\";s:3:\"big\";s:8:\"not null\";b:1;}}s:7:\"indexes\";a:2:{s:14:\"nodewords_name\";a:1:{i:0;a:2:{i:0;s:4:\"name\";i:1;i:6;}}s:17:\"nodewords_type_id\";a:2:{i:0;s:4:\"type\";i:1;s:2:\"id\";}}s:11:\"unique keys\";a:1:{s:22:\"nodewords_type_id_name\";a:3:{i:0;s:4:\"type\";i:1;s:2:\"id\";i:2;s:4:\"name\";}}s:11:\"primary key\";a:1:{i:0;s:4:\"mtid\";}s:6:\"module\";s:9:\"nodewords\";s:4:\"name\";s:9:\"nodewords\";}s:16:\"nodewords_custom\";a:5:{s:11:\"description\";s:43:\"The table containing data for custom pages.\";s:6:\"fields\";a:5:{s:3:\"pid\";a:3:{s:11:\"description\";s:16:\"The primary key.\";s:4:\"type\";s:6:\"serial\";s:8:\"not 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user warning: Incorrect file format 'cache' query: SELECT data, created, headers, expire, serialized FROM cache WHERE cid = 'imagecache:presets' in /var/www/clients/client1/web13/web/includes/cache.inc on line 25.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Перед вами – семь лучших книг, которые откроют новый мир и расскажут о науке весело и увлекательно.\n1. «Сэр Периметр и Дракон Пи», Синди Нойшвандер.\nКонечно же, эта книга – о математике. Интересно и живо автор представляет читателям приключения героев, имена которых сразу же говорят обо всем, ведь это Радиус, Периметр и Пи. Это только кажется, что все просто, а на самом деле им предстоят самые разные опасности, но они преодолимы.\n2. «Сэр Периметр и первый Круглый стол короля Артура»\n– еще одна книга из серии «Рыцари круглого стола». Математика – не просто наука, м в этом можно убедиться на примере приключений героев. Здесь во главу угла поставлена геометрия.\n3. «Чудеса на выбор. Забавная химия для детей», Ольгерт Ольгин.\nКазалось бы, ну какие чудеса? Химия – наука серьезная, тут без подхода никак… А вот автор этой книги берется доказать иное: всем детям будет интересна химия, ведь эксперименты можно делать даже дома. Использовав самые обычные предметы и продукты, можно вырастить кристаллы и многое другое!\n4. «Как Александр Грэм Белл ответил на телефонный звонок», Фрейзер Мэри Энн.\nМногие современные дети и не представляют себе жизнь без телефонов, но совершенно не знают, кому мы обязаны таким открытием. В книге описаны самые важные шаги к этому, а заодно и жизнь человека, подарившего нам всем радость мгновенного общения – Александра Белла.\n5. «Театр эпохи Шекспира», Жаклин Морли и Джон Джеймс.\nТеатральный мир удивителен, и нет лучшего примера, чем театр великого Шекспира, чтобы показать ребятам устройство помещения и суть происходящего на сцене одновременно. Легкое и увлекательное путешествие в серьезный мир подмостков детям обеспечено!\n6. «Берта отправляется в путь», Ян Адкинс.\nПуть развития автомобилей был долгим и тернистым. И они не всегда были такими элегантными, как сегодня. Эта книга расскажет об истоках бензиновых двигателей, о знаменитых Карле и Берте Бенцах – «прародителях» мерседесов.\n7. «Древний африканский город», Фиона Макдональд и Джеральд Вуд.\nПотрясающее пособие по истории и архитектуре, способное увлечь в мир африканских традиций всех без исключения. Интересная история одного города – Бенин-Сити – заставит читателей позабыть о том, что на дворе третье тысячелетие, и с головой окунуться в приключения 17 столетия.\nИсточник: <a href=\"http://novostiliteratury.ru/2019/02/knigi-dlya-detej/luchshaya-semerka-razvivayushhix-knig-dlya-detej/\" target=\"_blank\">Новости Литературы</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:fb0534088eb489b7db7645848f934786' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Самая главная черта всех книг – искренность, ведь иначе подростки читать не станут, «выкупят» вранье и выдумки. Пятерка книг для одной из самых требовательных аудиторий поможет получить истинное наслаждение от новых книг.\n1. «Скажи, что будешь помнить». Кэти Макгэрри – известная американская романистка. Взяв любовь, которая по законам жанра не должна была случиться, она создала тонкое переплетение прошлого и настоящего с вкраплениями политики. Получилось невероятно интересно!\n2. А вот и антиутопия «Испытание», автор – C. М. Уилсон. Считается, что жанр этот как раз для подростков, он им «заходит» как надо! Интересно, с огоньком (иногда даже с пожаром!) автор рассказывает о том, далеко не всегда и не всем жизнь дает сразу благополучное существование… Порой надо оскалить зубы и побороться за него.\n3. Следующая книга – настоящий психологический триллер. «Теряя Лею» написала Тиффани Кинг, известная мастерица плести страшные кружева из событий. В центре – две сестры-близняшки, но Лея реальна, а Мия пропала много лет назад и существует только лишь в воспоминаниях.\n4. Хейли Баркер и «Шоу безликих» вызывает леденящий душу ужас. Но ведь подростки любят такое! Кроме того, действие происходит в цирке, до поры до времени все ярко, празднично… А вот потом, когда представление заканчивается, все меняется…\n5. Закончить подборку хочется книгой к любви, пусть даже такой. «Лобстеры. Самая неловкая история любви», написанная Томом Элленом и Люси Ивисон, рассказывает о настоящей первой любви – не книжной и не очень романтичной, с завистниками и ссорами. Как показывает опыт прочтения книги на ее родине – в Великобритании – подростки историю Сэма и Ханны оценили.\nА для любознательных рекомендуем научно-популярную книгу об истории становления человеческого вида Юваль Харари \"Sapiens. Краткая история человечества\", подробную информацию о которой вы можете найти по ссылке <a href=\"https://kindbook.net/kniga/sapiens-kratkaya-istoriya-chelovechestva-harari\" target=\"_blank\">https://kindbook.net/kniga/sapiens-kratkaya-istoriya-chelovechestva-harari</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:810934d12748f2a09aa53ce41ac37064' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Дети во все времена одинаковы: с самого маленького возраста они живо интересуются происходящим вокруг, а уже ближе к школе начинают понимать, что все мамы и папы работают на разных работах. У Маши мама доктора, а у Васи – учительница, а вот папы – программист и водитель автобуса – отличаются очень сильно… У ребенка зарождается интерес к профессиям, и очень важно поддержать его. Итак, ТОП–6 книг о профессиях!\n1. Наталья и Сергей Гордиенко, «Большая книга профессий».\nЯркая, интересная энциклопедия дает представление о 42 профессиях. С помощью визуализации детвора быстро запоминает, кто и чем занимается. Что делает мама, когда отводит сына в детский сад? Куда с утра сломя голову убежал папа? Каждый вопрос тут рассматривается со всех сторон, потому и ответы полные.\n2. «Характер ребенка – приговор? Книга о том, как помочь ребенку выбрать профессию», Элмира Давыдова.\nЭто настоящее пособие для родителей, ведь автор не только профессиональный детский психолог, но и еще и профориентолог (да-да, и такая профессия тоже есть!). Прочитав книгу, мама с папой (а может и бабушка с дедушкой, очень хотелось бы!) смогут вовремя разглядеть направление, которое близко их сыну или дочке в плане профессии в будущем.\n3. «25 профессий Маши Филипенко» от Эдуарда Успенского.\nКлассика, на которой выросло не одно поколение. Школьница Маша вместо уроков отправляется в некий экспериментальный институт. Ей поручают очень важную роль – отныне она «улучшательница»! Ох и интересные идеи выдает третьеклассница руководству научного института! А детям несомненно понравятся яркие описания профессий в этой книге.\n4. Айно Хавукайнен и Сами Тойвонен, «Какие бывают профессии».\nГлавные герои – Тату и Пату, два брата. Они отправляются в путешествие, чтобы получить ответ на главный вопрос: зачем вообще взрослым работать? Ну а параллельно увидят и узнают, что же это такое – профессии, чем они отличаются.\n5. Алексей Стейнерт, «Профессия – космонавт».\nДля многих космос – это романтика, а космонавты – люди совершенно недосягаемые. Но в этой книге космонавт – это профессия, такая же, как и десятки других. Попутно можно узнать, как надевают скафандр и зачем, что такое иллюминатор, да и как работает космический корабль тоже!\n6. «Порт и корабли», Александр Чукавин.\nКапитан корабля – это тоже профессия, да еще какая! Сколько всего нужно знать и уметь! Одно устройство корабля чего стоит! В книге раскрыты все секреты, многие мальчишки после нее будут мечтать о дальних плаваньях. А кто-то, быть может, вырастет и станет-таки отважным капитаном!\nПодарите своему ребенку мир профессий, море открытий и радости!\nИсточник: <a href=\"http://novostiliteratury.ru/2019/01/knigi-dlya-detej/vybiraem-professiyu-6-interesnyx-knig-detyam/\" target=\"_blank\">Новости Литературы</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:a46ce06059725836a8de3478a9925e40' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Элена Фавилли и Франческа Кавальона писали замечательную книгу «Сказки на ночь для юных бунтарок», которую интересно будет читать не только детям, но и их родителям!\nО чем же она? Тут собрана сотня сказок, которые, по сути, посвящены сильным и независимым женщинам. 100 ярких личностей – не вымысел, все они реально существовали. Среди самых известных – Коко Шанель и Мария Кюри, Серена Уильямс, Ада Лавлейс, Маргарита Хак и другие. Что между ними общего? Все просто: каждая из этих красавиц не боялась быть собой, не обращать внимания на мнение окружающих и делать свою работу, какой бы она ни была.\nБезусловно, истории немного приукрашены, но это только для того. Чтобы привлечь маленьких читателей. А на самом деле каждая сказка написана по законам жанра, добро всегда побеждает зло. Важный эффект от каждой из историй – они мотивируют, заставляют поверить в свои силы и стать человеком с большой буквы.\nНемало в книге и практических советов: куда обращаться за помощью, где искать поддержку и единомышленников, что делать, если удача отвернулась… В книге есть потрясающие истории о женщинах-новаторах, это интересно и увлекательно.\nКнигу можно растянуть на 100 вечеров – и тогда это будет удивительное путешествие в мир открытий и подвигов, в мир моды и красоты, науки и искусства. Конечно, маленьким детям стоит читать сказки вслух, так почему бы не отойти от классических сказочных персонажей и не заменить их современными – яркими, незабываемыми и… реальными!\nИсточник: <a href=\"http://novostiliteratury.ru/2019/01/knigi-dlya-detej/vdoxnovlyayushhie-skazki-na-noch-dlya-buntarok-i-drugix-detej/\" target=\"_blank\">Новости Литературы</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:97c7f8eeead2e413db57022cdfabf250' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Герои книги Анны Ремез «<a href=\"http://kidreader.ru/book/3292\">Волны ходят по четыре</a>» (издательство «Поляндрия») — мама, папа и дочка, от лица которой ведется повествование, — едут на море. Причем не куда-нибудь, а в Крым! И, конечно, во время такой поездки маленькая героиня открывает для себя новый мир, совершает множество маленьких открытий: видит, как с крыши выглядит закат солнца, узнает, что кузнечики бывают не только зелеными, а рыбу можно ловить при помощи палки от пляжного зонтика … Эта книга состоит из небольших взаимосвязанных рассказиков о летних впечатлениях, которые ребенок может получить на юге, на теплом море.\n<img src=\"/sites/default/files/Waves_cover.jpg\" width=\"190\" height=\"269\" />\nРасмус из книги Астрид Линдгрен «<a href=\"http://kidreader.ru/book/3283\">Расмус-бродяга</a>» (издательство «Махаон») — тоже путешествует, но по-своему. Он сбежал из сиротского приюта и начал бродяжничать, чтобы найти родителей самостоятельно. Как ни странно, эта идея оказалась не лишенной смысла, ведь во время своего странствия мальчик знакомится с бродягой Оскаром, переживает с ним моменты радости и нешуточной опасности и даже обретает свой дом! Яркие и эмоциональные цветные иллюстрации Ксении Шафрановской подчеркивают трогательность и наивность этой истории.\n<img src=\"/sites/default/files/rasmus_cover_0.jpg\" width=\"190\" height=\"242\" />\nПутешествуют не только люди, но и животные. Вот, например, пес Чижик, он же Чингисхан, герой новой книги Аси Кравченко «<a href=\"http://www.labirint.ru/books/490841/?p=4837\">Куда бежишь?</a>» (издательство «Абрикобукс»), убежал от своей хозяйки Симки, чтобы вернуться в лето, на дачу, где ему было так хорошо! Путь обещает быть долгим, и за это время Чижику предстоит встретить настоящих друзей, проявить свои лучшие качества и, конечно, понять, что нет ничего лучше дома и никого лучше Симки. Красочные иллюстрации Татьяны Петровска невероятно трогательно отражают эмоции персонажей, они не оставят равнодушным ни одного любителя собак.\n<img src=\"/sites/default/files/kuda_bezhish.jpg\" width=\"190\" height=\"283\" />\nАнна Никольская пишет настолько увлекательные книги, что они способны превратить любую дорогу в настоящее приключение! В новой истории «<a href=\"http://kidreader.ru/book/3233\">Блошкинс и Фрю. Опасное путешествие</a>» (издательство «Клевер») Блошкинсу, Фрю и Стопроцентному Хлопку необходимо спасти своего незадачливого друга Прыгобумса из плена, иначе тому грозит смертная казнь. Им предстоит бросить все дела, разработать план и отправиться в дорогу. Само собой, путь в подземное царство гримольфов, где заточен Прыгобумс, обещает быть опасным, и героям придется пройти через множество испытаний. Им нужно найти выход из смертельного лабиринта, выбраться из сахарной пустыни, а Блошкинсу — еще и научиться летать. Нежные, манящие, уютные и трогательные иллюстрации к этой книге нарисовала <a href=\"http://kidreader.ru/author/834\">Галина Зинько</a>.\n<img src=\"/sites/default/files/Bloshkins_cover.jpg\" width=\"190\" height=\"247\" />\nЕсть и другая захватывающая история о похищении, только на этот раз это книга зарубежного автора. «<a href=\"http://kidreader.ru/book/3161\">Близняшки Темплтон</a>» (издательство «Карьера пресс») — веселая и динамичная история о сообразительных детях-близнецах и их приключениях, которая периодически прерывается для того, чтобы автор мог поговорить со своим читателем. Особенно забавно то, что каждая глава этой увлекательной повести заканчивается разделом «проверь себя», то есть списком вопросов от автора. Причем вопросы нужны явно не для того, чтобы дети на них отвечали. Это такая своеобразная игра с читателем. Весело, не правда ли?\n<img src=\"/sites/default/files/templton_cover.jpg\" width=\"190\" height=\"266\" />\nМногим детям гораздо легче читать в дороге небольшие рассказы, чем одно цельное произведение. Книга Сергея Переляева «<a href=\"http://kidreader.ru/book/3257\">Индийское кино</a>» (издательство «Самокат») как раз такая. В жизни главного героя всех рассказов происходит множество ярких событий: когда ему было три года, он упал с двухколесного велосипеда, когда четыре — ненадолго сбежал из дома вместе с дворовым котом, а когда десять — написал сочинение о любви… Герой снимает собственное индийское кино, проявляет фотографии в противогазе и даже пытается, подобно экстрасенсам, во время классного часа зарядить воду, принесенную одноклассниками! Он находит интересное в мелочах, не расстраивается из-за неудач и может с юмором рассказать обо всем, что с ним приключалось в детстве.\n<img src=\"/sites/default/files/indiyskoe_cover.jpg\" width=\"190\" height=\"255\" />\nВолшебные сказки как нельзя лучше подходят для дороги, ведь они на время переносят ребенка в совершенно другой мир, мир чудес. Например, в сборнике сказок Эдит Несбит «<a href=\"http://kidreader.ru/book/3272\">Ледяной дракон</a>» (издательство «Речь») чудеса происходят на каждом шагу. Малыш Лайонел только-только вступил на трон и, поддавшись любопытству, случайно выпустил на волю опасного дракона, который обитал в волшебной книге его пра-пра-пра-и так далее-дедушки. Или, например, маленькая принцесса Мэри Энн. Она мечтала вырасти и стать женой сына садовника, а вместо этого по вине коварного чародея должна стать подарком на день рождения пурпурному дракону. Но все еще можно исправить! Стоит только героям проявить смекалку, и выход обязательно найдется.\n<img src=\"/sites/default/files/nesbit_cover.jpg\" width=\"190\" height=\"267\" />\nСтанислав Востоков точно знает, что должно быть в детской книге, чтобы читатель ни на минуту не заскучал. В его новой фантастической повести «<a href=\"http://kidreader.ru/book/3312\">Высшим силам требуется помощь</a>» (издательство «Клевер») друзья-семиклассники Ира Шмель и Макс Антохин должны разобраться в таинственных обстоятельствах, а для этого им придется побывать в прошлом, в восемнадцатом веке, и самим столкнуться с удивительным и невероятным. Героям предстоит выяснить, кто незаконно продает на Земле волшебные шапки-невидимки и сапоги-скороходы и даже спасти Москву от разрушительных экспериментов, которые проводит немецкий ученый-физик Краузе… Несколько сюжетных линий и динамичность повествования «затягивают» читателя и держат в напряжении до самых последних страниц книги.\n<img src=\"/sites/default/files/vishim_silam_cover.jpg\" width=\"190\" height=\"269\" />\nБолее взрослым читателям — более серьезное чтение. Подростковый роман «<a href=\"http://kidreader.ru/book/3131\">Пик</a>» (издательство «Розовый жираф») — это приключенческая история о подростке, который настолько зациклен на покорении вершин, что даже забирается на небоскреб. Вот только достижение цели не приносит герою ничего, кроме неприятностей. За свою рискованную затею он должен сесть в тюрьму, а чтобы этого избежать — Пику приходится вместе с отцом отправиться в Гималаи. Другой мир, другая природа, другой образ жизни и недостижимая, на первый взгляд, вершина Эвереста — вот, что заставит героя измениться и лучше понять самого себя.\n<img src=\"/sites/default/files/pik_cover_0.jpg\" width=\"190\" height=\"268\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:388a47de6f6e8f29f07707c5fd3d3d77' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '«<a href=\"http://www.labirint.ru/books/486224/?p=4837\">Голубая книга лета</a>» (издательство «Карьера пресс») отвечает на множество детских вопросов об этом времени года: откуда берется гроза, каких насекомых можно встретить летом, почему падают звезды и как избежать обезвоживания. Приятными бонусами будут летние считалочки, примеры опытов и, конечно, рецепт летнего блюда, которое можно приготовить вместе с родителями, а яркие иллюстрации Эрве ле Гоффа позволят дошкольникам рассмотреть и наглядно изучить особенности природы в это время года.\n<img src=\"/sites/default/files/glubaya_kniga.jpg\" width=\"190\" height=\"263\" />\nПисательница и иллюстратор <a href=\"http://kidreader.ru/author/1827\">Зина Сурова</a> посвятила целую книгу тому, как детям можно прекрасно отдохнуть летом в деревне, получая при этом яркие впечатления, новые знания о природе и, конечно же, большую свободу, чем в городе. В книгу «<a href=\"http://kidreader.ru/book/3205\">Лето в деревне</a>» (издательство «Манн, Иванов и Фербер») вошли увлекательные наблюдения за летней природой, идеи для детского летнего досуга, для создания необычных «сезонных» поделок, а также описания детских впечатлений и приключений, ведь книга написана от лица одиннадцатилетнего мальчика — это не просто пособие для игр и творчества, это настоящая история с сюжетом.\n<img src=\"/sites/default/files/Leto-v-derevne_Cover_0.jpg\" width=\"190\" height=\"184\" />\nТеплая и жизнерадостная «<a href=\"http://www.labirint.ru/books/268909/?p=4837\">Летняя книга</a>» Ротраут Сузанны Бернер, как и остальные ее «сезонные» книги, (издательство «Самокат») практически не содержит текста и предназначена в основном для детального разглядывания, игр и развития детской речи. Летом Городок по-настоящему оживает, и природа преображается вместе с ним: созревают вишни, летний дождь сопровождается молниями, мороженное расходится на «ура», дети могут бегать босиком…\n<img src=\"/sites/default/files/berner_leto.jpg\" width=\"190\" height=\"253\" />\n«<a href=\"http://www.labirint.ru/books/468386/?p=4837\">Летняя история</a>» про Ежевичную поляну, написанная и нарисованная Джилл Барклем, впервые вышла в России (издательство «Эксмо»), а в Англии книга уже давно завоевала любовь детей и родителей. Главные герои всех «сезонных» историй автора — маленькие и, безусловно, симпатичные мышки. Летом мыши радуются великому событию — свадьбе, которая состоится в день Ивана Купалы. Но чтобы свадьба состоялась и завершилась праздничным гуляньем у ручья, герои должны сильно потрудиться: приготовить летнее угощение и собрать красивый букетик для невесты.\n<img src=\"/sites/default/files/letnyaya%20istoriya.jpg\" width=\"190\" height=\"247\" />\nСтихотворения о лете, благодаря своей образности, легко передают детям знания об основных природных изменениях в это время года. Небольшой сборник Владимира Степанова «<a href=\"http://www.labirint.ru/books/360667/?p=4837\">Соломенное лето</a>» (издательство «Адонис») в стихотворной форме расскажет малышам о лопухах и летней росе, о ветре в поле и облаках, а также об основных приметах каждого летнего месяца…\n<img src=\"/sites/default/files/solomennoe.jpg\" width=\"190\" height=\"217\" />\nЕще один сборник летних стихотворений так и называется — «<a href=\"http://www.ozon.ru/context/detail/id/5100628/?partner=kidreader\">Летние стихи</a>» (издательство «Мозаика-Синтез»). В книгу вошли лучшие стихотворения о летней природе, написанные классиками русской литературы: «Как весел грохот летних бурь» Тютчева, «Бабочка» Фета, «Сенокос» Майкова, «Летний вечер» Блока, «С добрым утром» Есенина и многие другие. Мягкие, лиричные и нежные акварели художника Владимира Белоусова отражают красоту русской природы летом и подчеркивают красоту стихотворений.\n<img src=\"/sites/default/files/978-5-86775-707-6.jpg\" width=\"200\" height=\"203\" />\nЕсть и другая книга проникновенных «сезонных» стихотворений, написанных русскими классиками, — «<a href=\"http://www.labirint.ru/books/292677/?p=4837\">Летний вечер</a>» (издательство «Амфора»). В сборник вошли лучшие стихи Ивана Бунина, Александра Блока и Аполлона Майкова. Пейзажные иллюстрации выдающегося русского художника Николая Устинова переносят каждого читателя книги на бескрайние просторы русской природы.\n<img src=\"/sites/default/files/vecher.jpg\" width=\"170\" height=\"230\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:c3afd37b81ec62fb9eb3a784d07f134d' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Начнем с самого загадочного и таинственного произведения из списка — с «<a href=\"http://www.labirint.ru/books/460636/?p=4837\">Мастера и Маргариты</a>» Булгакова (издательство «Азбука»). Украсить этот роман могли только иллюстрации непревзойденного мастера своего дела, и художник Геннадий Калиновский, бесспорно, находится в их числе. Его иллюстрации к «Мастеру и Маргарите» как нельзя лучше подходят тексту — в них гармонично сочетаются друг с другом фантастические детали, религиозные мотивы, исторические сцены и захватывающая дух масштабность изображаемого.\n<img src=\"/sites/default/files/978-5-389-08363-9.jpg\" width=\"190\" height=\"263\" />\nЕще одна книга «<a href=\"http://www.labirint.ru/books/259162/?p=4837\">Мастер и Маргарита</a>», на этот раз от издательства «АСТ» с иллюстрациями Анатолия Фоменко — не только художника, но и математика. Неожиданное сочетание графики и математики привело к тому, что иллюстрации к роману отличаются особенной таинственностью, причудливостью форм и невероятной образностью.\n<img src=\"/sites/default/files/bulgakov_ast.jpg\" width=\"190\" height=\"273\" />\nРоман Бориса Пастернака «<a href=\"http://www.labirint.ru/books/418209/?p=4837\">Доктор Живаго</a>» (издательство «Эксмо») хоть и был удостоен Нобелевской премии по литературе в 1958 году, но на Родине писателя долгое время находился под запретом. Издание особенно тем, что, помимо самого текста романа, включает в себя статью об истории запрета «Доктора Живаго», которую написал сын писателя, литературовед Евгений Пастернак.\n<img src=\"/sites/default/files/pasternak.jpg\" width=\"190\" height=\"302\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВ серии «Малая библиотека шедевров», которую выпускает издательство «Азбука», вышли сразу две книги с программными произведениями, входящими в списки летнего чтения для одиннадцатых классов, — это роман-эпопея «<a href=\"http://www.labirint.ru/books/463917/?p=4837\">Тихий Дон</a>» Михаила Шолохова и сборник ключевых стихотворений, поэм и пьес Владимира Маяковского «<a href=\"http://www.labirint.ru/books/432260/?p=4837\">Облако в штанах. Во весь голос. Люблю. Стихотворения. Поэмы. Пьесы</a>».\n<img src=\"/sites/default/files/tihiy%20don.jpg\" width=\"190\" height=\"302\" />\nИ «Тихий Дон», и «Облако в штанах…» не содержат иллюстраций, чтобы у читателей была возможность полностью погрузиться в текст и самостоятельно вообразить героев и события.\n<img src=\"/sites/default/files/mayakovskiy.jpg\" width=\"190\" height=\"302\" />\nНи одна программа по литературе для одиннадцатых классов не обходится без произведений Ивана Бунина. Его сборник «<a href=\"http://www.labirint.ru/books/451204/?p=4837\">Рассказы</a>» (издательство «Никея») включает в себя избранные произведения писателя, в числе которых — «Темные аллеи», «Господин из Сан-Франциско», «Поздний час», «Холодная осень» и другие. Отсутствие иллюстраций в издании призывает читателей сосредоточить все внимание на тексте рассказов.\n<img src=\"/sites/default/files/Ivan_Bunin__Rasskazy.jpg\" width=\"190\" height=\"296\" />\nИ, наконец, нельзя обойти стороной завораживающие стихотворения Блока, написанные с благоговейным восторгом перед Возлюбленной, несущие в себе свет и глубокие чувства. В сборник лирики «<a href=\"http://www.ozon.ru/context/detail/id/29234953/?partner=kidreader\">Великие поэты мира. Александр Блок</a>» (издательство «Эксмо») вошли «Стихи о Прекрасной Даме» и другие значительные стихотворения поэта из всех его поэтических циклов.\n<img src=\"/sites/default/files/block_cover.jpg\" width=\"190\" height=\"272\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:5521ff468ff439a615f8e9c8ed4223dc' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Естественно, начнем с самого объемного произведения, без которого не обходится ни одна школьная программа, — с романа-эпопеи «<a href=\"http://www.labirint.ru/books/75287/?p=4837\">Война и мир</a>» (издательство «Эксмо»). Это издание выделяется своим иллюстративным оформлением: ключевые эпизоды романа отражены на черно-белых и цветных иллюстрациях невероятной красоты, нарисованных художником А. П. Апситом; художник подготовил их еще в 1912 году для юбилейного издания романа.\n<img src=\"/sites/default/files/voina%20i%20mir.jpg\" width=\"190\" height=\"259\" />\nКак говорится, все новое — это хорошо забытое старое: лицемерие и желание достичь своих целей за счет других часто встречаются в современном обществе, а Лермонтов еще в 1835 году написал об этом пьесу «<a href=\"http://www.labirint.ru/books/467380/?p=4837\">Маскарад</a>» (издательство «Речь»). Сюжет этой драмы в стихах довольно прост: невиновная Нина погибает от руки ревнивого мужа из-за неверных толков в обществе. Многочисленные цветные иллюстрации Алексея Рейпольского, стилизованные под 30-е годы XIX века, великолепно дополняют текст и максимально точно передают реалии того времени.\n<img src=\"/sites/default/files/maskarad.jpg\" width=\"190\" height=\"280\" />\nПовесть Гоголя «<a href=\"http://www.labirint.ru/books/300779/?p=4837\">Нос</a>» (издательство «Махаон») — это квинтэссенция сатиры и абсурда, ее глубокий смысл  и жизненная правдоподобность поражают нас не меньше, чем они поразили в свое время Пушкина. По-настоящему мистические иллюстрации к этой повести нарисовал известный современный художник Игорь Олейников, в его исполнении каждый герой «Носа» выглядит невероятно выразительно и надолго запоминается.\n<img src=\"/sites/default/files/nos_mahaon.jpg\" width=\"190\" height=\"230\" />\nИ еще один гоголевский «<a href=\"http://www.labirint.ru/books/344531/?p=4837\">Нос</a>» (издательство «Рипол-Классик»), на этот раз в исполнении художника Геннадия Спирина, у которого получилось создать очень образные и эмоциональные иллюстрации к повести. Одно и то же произведение в разном иллюстративном оформлении приобретает значительные отличия.\n<img src=\"/sites/default/files/nos_ripol.jpg\" width=\"190\" height=\"250\" />\n«Тварь ли я дрожащая, или право имею?» — этим вопросом задается главный герой романа Достоевского «<a href=\"http://www.labirint.ru/books/406074/?p=4837\">Преступление и наказание</a>» (издательство «Лениздат»). Это произведение считается шедевром не только русской, но и мировой литературы в целом, поэтому неудивительно, что без него не обходится ни одна школьная программа по литературе для 10 класса. Отсутствие иллюстраций в издании дает читателям возможность полностью погрузиться в текст романа и самостоятельно вообразить героев и события.\n<img src=\"/sites/default/files/Fedor_Dostoevskij__Prestuplenie_i_nakazanie.jpg\" width=\"190\" height=\"285\" />\nПодростковый возраст, когда дети говорят со своими родителями буквально на разных языках, — идеальное время, чтобы обратиться к классикам, писавшим на эту тему, а точнее к роману «<a href=\"http://www.labirint.ru/books/407599/?p=4837\">Отцы и дети</a>» Тургенева (издательство «Рипол-Классик»). Отсутствие иллюстраций призывает читателей сосредоточить все внимание на тексте произведения.\n<img src=\"/sites/default/files/otsi%20i%20deti.jpg\" width=\"190\" height=\"305\" />\nОт русской литературы — к литературе зарубежной. Роман Селинджера «<a href=\"http://www.labirint.ru/books/414178/?p=4837\">Над пропастью во ржи</a>» (Издательский Дом Мещерякова) вдохновил многие поколения подростков-бунтарей и покорил читателей во всем мире. Текст романа дан в лучшем переводе — переводе Риты Райт-Ковалевой, который уже признан классическим, а необычное оформление издания сразу же привлекает к себе внимание.\n<img src=\"/sites/default/files/Dzh.D._Selindzher__Nad_propastyu_vo_rzhi.jpeg\" width=\"190\" height=\"233\" />\nНет смысла пересказывать сюжет знаменитого романа «<a href=\"http://www.labirint.ru/books/243155/?p=4837\">Портрет Дориана Грея</a>», написанного Оскаром Уайльдом (издательство «АСТ»). Его читают во всем мире, его экранизируют, им продолжают восхищаться. Текст романа сопровождают ироничные черно-белые зарисовки художника Тони Росса.\n<img src=\"/sites/default/files/grye.jpg\" width=\"190\" height=\"274\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:1bab9abdabd96666ffda61164f805adc' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '«<a href=\"http://kidreader.ru/book/1811\">Слово о полку Игореве</a>» (Издательский Дом Мещерякова) — это известный памятник древнерусской литературы, датированный концом XII века. В основе сюжета — неудачный поход на половцев, предпринятый новгород-северским князем Игорем Святославичем в 1185 году. Белорусский художник Павел Татарников в своих иллюстрациях к этому произведению смог отразить эпичность тех исторических событий, их масштабность и значимость. Особенность книги в том, что она билингвистическая: текст идет параллельно на древнерусском и русском языках. «Слово…» на русском языке представлено в переводе академика, литературоведа Д. С. Лихачева. Также в книгу вошли статьи Лихачева, посвященные этому произведению.\n<img src=\"/sites/default/files/Slovo_cover.jpg\" width=\"190\" height=\"256\" />\nКомедия «<a href=\"http://kidreader.ru/book/2640\">Горе от ума</a>» Грибоедова давно разошлась на цитаты. Кто не помнит знаменитых фраз «Свежо предание, а верится с трудом» и «Служить бы рад, прислуживаться тошно»? Издательство «Клевер» продемонстрировало новый взгляд на классическое произведение, включив в издание не только сам текст комедии, но и описания прототипов главных героев, литературоведческий анализ, знаменитые афоризмы персонажей, портреты автора и его друзей, фотографии памятников <a href=\"http://kidreader.ru/author/2635\">Грибоедова</a> и предметов обихода того времени, а также историю создания комедии, адаптированную для современного читателя. «Горе от ума» иллюстрировано Д. Н. Кардовским, который создал эти иллюстрации еще к изданию 1913 года, и они до сих пор являются непревзойденной классикой.\n<img src=\"/sites/default/files/Grib_Cover_COVER.jpg\" width=\"190\" height=\"290\" />\nОдно из основных произведений русской классики, с которым предстоит познакомиться будущим девятиклассникам,  — «<a href=\"http://www.labirint.ru/books/458407/?p=4837\">Герой нашего времени</a>» Михаила Лермонтова (издательство «Нигма»). Иллюстрации Анатолия Иткина великолепно передают эмоции главных героев и красоту тех мест, где происходят действия, ведь художник побывал в Пятигорске, Владикавказе (Орджоникидзе) и Грозном, чтобы максимально точно отразить общую картину.\n<img src=\"/sites/default/files/geroy%20nashego.jpg\" width=\"190\" height=\"267\" />\n«<a href=\"http://kidreader.ru/book/2535\">Невский проспект</a>» <a href=\"http://kidreader.ru/author/2534\">Гоголя</a> (издательство «Речь») — это не только классика русской литературы, которая неизменно входит в школьную программу, но и удивительное, многогранное неустаревающее произведение, в котором главный герой не человек, а улица. Выдающийся петербургский художник <a href=\"http://kidreader.ru/author/1338\">Михаил Бычков</a> не просто отразил авторский замысел, а создал на его основе свою концепцию, новое прочтение, которое не оставит равнодушными истинных петербуржцев и всех ценителей иллюстраций. Иллюстратор проникся гоголевской эпохой и тщательно изучил ее, именно это позволило ему представить Невский проспект так по-разному и в то же время неизменным от XIX века до наших дней.\n<img src=\"/sites/default/files/Gogol_Nevsky-prospekt.jpg\" width=\"190\" height=\"254\" />\nБез произведений Александра Сергеевича Пушкина не обходится ни одна программа по литературе для девятого класса. В книгу «<a href=\"http://www.labirint.ru/books/407594/?p=4837\">Дубровский</a>» (издательство «Махаон»), помимо одноименного романа, вошли повести «Станционный смотритель», «Выстрел» и «Барышня-крестьянка». Наиболее яркие эпизоды каждого из произведений проиллюстрированы акварелями талантливого художника Анатолия Иткина.\n<img src=\"/sites/default/files/978-5-389-03772-4.jpg\" width=\"190\" height=\"226\" />\nПовести Бориса Васильева о войне — пронзительные, реалистичные, глубокие — по праву считаются одними из лучших классических произведений на эту тему. Возможно, именно поэтому они до сих пор входят в программу по литературе в некоторых школах. Книга «<a href=\"http://www.labirint.ru/books/469705/?p=4837\">А зори здесь тихие. Завтра была война</a>» (издательство «Клевер») включает в себя две повести великого писателя. Отсутствие иллюстраций позволит школьникам целиком и полностью сосредоточиться на тексте произведений.\n<img src=\"/sites/default/files/a%20zori.jpg\" width=\"190\" height=\"310\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:f9257823587a2a7510255882623ceb3c' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Пушкин — наше все, поэтому куда же мы без «<a href=\"http://www.labirint.ru/books/452901/?p=4837\">Капитанской дочки</a>» (издательство «Клевер»)? Помимо самого текста повести, в это издание включены критические статьи, классические иллюстрации, тематические врезы, интересные факты о создании повести, а также вымышленное интервью с писателем.\n<img src=\"/sites/default/files/kapitanskaya.jpg\" width=\"190\" height=\"280\" />\nИ еще одно произведение великого русского классика в школьной программе восьмиклассников. «<a href=\"http://www.ozon.ru/context/detail/id/29123716/?partner=kidreader\">Пиковую даму</a>» Пушкина (издательство «Росмэн») знают и любят не только в России, и иллюстрируют ее не только русские художники. На каждой иллюстрации всемирно известного титулованного болгарского художника Ясена Гузелева оживают персонажи этой мистической повести. Художник использовал сдержанную цветовую гамму и тем самым усилил впечатление от текста, придал еще большей таинственности этой истории. При этом Гузелев уделил большое внимание деталям и прекрасно передал реалии того времени.\n<img src=\"/sites/default/files/pikovaya1.jpg\" width=\"190\" height=\"269\" />\n«Мцыри» М. Ю. Лермонтова традиционно входит в школьную программу восьмиклассников, но редко выпускается отдельным изданием. В сборник «<a href=\"http://www.labirint.ru/books/393381/?p=4837\">Стихи и поэмы</a>» (издательство «Махаон») помимо текста «Мцыри» вошли также наиболее известные стихи поэта и другие его поэмы, а масштабные и эмоциональные иллюстрации известного художника Георгия Юдина украсили эти тексты и отразили их глубокий смысл.\n<img src=\"/sites/default/files/lermontov_stihi.jpg\" width=\"190\" height=\"229\" />\nБасни Крылова точно и хлестко высмеивают людские пороки, и актуальность этих басен ничуть не устаревает со временем. «<a href=\"http://www.labirint.ru/books/481537/?p=4837\">Слон и Моська</a>» (издательство «Нигма») — это сборник наиболее известных басен писателя, в числе которых «Мартышка и очки», «Квартет», «Ворона и лисица», «Лебедь, Щука и Рак», «Стрекоза и Муравей», «Зеркало и Обезьяна». Все эти басни предельно реалистично проиллюстрированы замечательным художником Алексеем Лаптевым.\n<img src=\"/sites/default/files/slon%20i%20moska.jpg\" width=\"190\" height=\"257\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nС русской народной сказкой «Снегурочка» все дети наверняка знакомы с малых лет, а вот с одноименной пьесой Островского им только предстоит познакомиться на уроках литературы. Эта «<a href=\"http://www.labirint.ru/books/428534/?p=4837\">Снегурочка</a>» (Издательский Дом Мещерякова) рассказывает о мистических событиях в стране берендеев, о горячей любви и жгучей ненависти, о печальной смерти главной героини. Текст сопровождают чарующие иллюстрации Васнецова, отразившего колоритность персонажей, красоту русской природы и лиричное настроение пьесы.\n<img src=\"/sites/default/files/a_n_ostrovskij_snegurochka.jpg\" width=\"190\" height=\"272\" />\nПодростковый возраст — подходящее время, чтобы читать о настоящей любви. И тут, конечно, никуда без классики. «<a href=\"http://www.labirint.ru/books/196640/?p=4837\">Первая любовь. Ася</a>» (издательство «АСТ») — это небольшой сборник, в который вошли две хорошо известные повести Тургенева о любви, о том, что за нее надо бороться, если не хочешь всю жизнь жалеть о своей ошибке. Отсутствие иллюстраций позволит читателям целиком сосредоточить свое внимание на тексте.\n<img src=\"/sites/default/files/Ivan_Turgenev__Pervaya_lyubov._Asya.jpg\" width=\"190\" height=\"302\" />\nБаллады Жуковского неизменно входят в школьную программу по литературе. В сборник «<a href=\"http://www.ozon.ru/context/detail/id/23809419/?partner=kidreader\">Спящая царевна</a>» (издательство «Махаон») вошли известные баллады поэта («Светлана», «Людмила», «Лесной царь», «Роланд-оруженосец» и «Замок Смальгольм»), а также три его поэтические сказки. Фантазийные и романтичные иллюстрации Дарьи Юдиной прекрасно подходят под таинственное настроение произведений.\n<img src=\"/sites/default/files/978-5-389-03657-4.jpg\" width=\"190\" height=\"229\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:7d512b8441802fafa64909cbbea316c0' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Былина о находчивом новгородском гусляре «<a href=\"http://www.labirint.ru/books/456364/?p=4837\">Садко</a>» (издательство «Рипол Классик») из года в год изучается в школах, она хорошо знакома многим взрослым и детям. В оформлении Геннадия Спирина классическая былина представляется совершенно по-новому и становится гораздо ближе читателю, ведь масштабные красочные иллюстрации художника занимают значительное пространство книги и практически превращают ее в альбом. Каждая иллюстрации Спирина пронизана волшебством, сказочностью, и при этом предельно реалистично передает характер новгородцев, их быт. На каждом рисунке художника тщательно прорисованы детали, мимика и жесты.\n<img src=\"/sites/default/files/sadko1.jpg\" width=\"195\" height=\"200\" />\nСказки Салтыкова-Щедрина пронизаны сатирой, в них метко подмечены людские недостатки, которые автор зачастую демонстрирует на примере героев-животных: тут и карась-идеалист, и орел-меценат, и баран-непомнящий… Издание «<a href=\"http://www.labirint.ru/books/372658/?p=4837\">Премудрый пискарь</a>» (издательство «Махаон») включает в себя те сказки Салтыкова-Щедрина, которые входят в школьную программу. Иллюстрации молодой художницы Василисы Коверзневой «подхватывают» интонацию сказок и гармонично сочетаются с текстом.\n<img src=\"/sites/default/files/saltikov.jpg\" width=\"190\" height=\"230\" />\nИсторическая поэма Лермонтова «<a href=\"http://www.labirint.ru/books/280956/?p=4837\">Песня про царя Ивана Васильевича, молодого опричника и удалого купца Калашникова</a>» (Издательский Дом Мещерякова) хоть и является бесспорной классикой русской литературы и изучается в школах, крайне редко выходит отдельным изданием. Тем более ценной представляется эта книга, в которой поэма не «разбавлена» другими произведениями поэта. Предельно реалистичные черно-белые иллюстрации Ивана Билибина, выполненные в его коронном стиле, переносят читателей в XVI век, к месту событий поэмы.\n<img src=\"/sites/default/files/pesnya.jpg\" width=\"190\" height=\"267\" />\nЧехов — мастер замечать мелочи жизни и через незначительные, на первый взгляд, детали показывать серость жизни своих героев. Его «<a href=\"http://www.labirint.ru/books/466190/?p=4837\">Рассказы</a>» (издательство «Нигма») отличает мягкая ирония и глубокий философский смысл, а благодаря акварелям известного художника Анатолия Иткина каждое произведение, вошедшее в сборник, раскрывается еще больше.\n<img src=\"/sites/default/files/rasskazi_chehov.jpg\" width=\"190\" height=\"272\" />\nКнига «<a href=\"http://kidreader.ru/book/3002\">Белый Бим Черное ухо</a>» (издательство «Речь») — прекрасный пример того, что о человеческой жестокости, злости, несправедливости писать не только можно, но и нужно, ведь «если писать только о счастье, то люди перестанут видеть несчастных и в конце концов не будут их замечать». Иллюстрации непревзойденного художника <a href=\"http://kidreader.ru/author/1789\">Германа Мазурина</a> подчеркивают реалистичность истории, усиливают ее драматизм, а также раскрывают характеры персонажей.\n<img src=\"/sites/default/files/Troepolsky_Bim_obl.jpg\" width=\"190\" height=\"270\" />\n<a href=\"http://www.labirint.ru/books/457100/?p=4837\">«</a><a href=\"http://www.labirint.ru/books/457100/?p=4837\">Алису в Зазеркалье</a>» (издательство «Эксмо») по праву считают классикой мировой детской литературы. Она не нуждается в представлении. А итальянскому художнику <a href=\"http://kidreader.ru/author/2906\">Либико Марайя</a> удалось создать для книги <a href=\"http://kidreader.ru/author/2297\">Льюиса</a> Кэрролла особенные, нежные и трогательные иллюстрации, с которыми «Алису в Зазеркалье» в России еще никогда не выпускали!\n<img src=\"/sites/default/files/Kerroll_L.__Alisa_v_Zazerkale_.jpg\" width=\"190\" height=\"243\" />\nИ под конец немного о приключениях, а точнее — о «<a href=\"http://www.labirint.ru/books/457505/?p=4837\">Трех мушкетерах</a>» Дюма (издательство «Нигма»). Многие дети к седьмому классу уже хорошо знакомы с Атосом, Портосом, Арамисом и Д’Артаньяном по фильму, но книга — совсем другое дело. Здесь и любовь, и опасности, и подвиги, и хитросплетение интриг, и путешествие, и даже настоящие сражения! Цветные иллюстрации Анатолия Иткина прекрасно передают характеры главных героев, а также правдоподобно изображают место действия и черты той эпохи, полностью погружая читателя в атмосферу правления Людовика XIII во Франции.\n<img src=\"/sites/default/files/3mushketera.png\" width=\"200\" height=\"259\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:39ab4a04c3dcfd6ce68b11cea7b0cb92' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Повесть Льва Николаевича Толстого «<a href=\"http://www.labirint.ru/books/486077/?p=4837\">Хаджи-Мурат</a>» (издательство «Клевер») знакомит детей с событиями Кавказской войны и рассказывает о трагической судьбе главного героя. Помимо полного текста повести, в книгу включены подробные характеристики персонажей, литературоведческий анализ произведения, а также заочное интервью с Львом Николаевичем, адаптированное для современного читателя. Все это призвано заинтересовать школьников классикой и позволит им более глубоко изучить произведение.\n<img src=\"/sites/default/files/hadgi.jpg\" width=\"183\" height=\"280\" />\nИстория прекрасной Ассоль и капитана Грэя — наверное, самая яркая и романтичная история из всех, рассказанных в детских книгах. «<a href=\"http://www.ozon.ru/context/detail/id/24320510/?partner=kidreader\">Алые паруса</a>» (издательство «Речь») заставляют верить в возможность чуда и демонстрируют пример того, как сильна бывает надежда. Красочные, светлые, добрые иллюстрации Михаила Бычкова открывают детям эту историю с новой стороны, создают особую атмосферу на страницах книги. Отдельно стоит отметить необычную полосу набора в этом издании: благодаря <a href=\"http://kidreader.ru/article/2975\">дизайнерскому решению</a> Михаила Бычкова, полоса набора имеет форму паруса.\n<img src=\"/sites/default/files/grin-obl-3D.jpg\" width=\"190\" height=\"295\" />\nШалости и проказы неугомонных Лели и Миньки — героев рассказов <a href=\"http://kidreader.ru/author/2595\">Михаила Зощенко</a> — будоражили воображение не одного поколения детей. В сборник издательства «Нигма» вошли 9 рассказов Зощенко: «Елка», «Бабушкин подарок», «Не надо врать», «Тридцать лет спустя», «Находка», «Великие», «Путешественники», «Золотые слова», «Пуд железа» и, конечно, рассказ «<a href=\"http://kidreader.ru/book/2597\">Галоши и мороженое</a>», ставший заглавием сборника. Иллюстрации <a href=\"http://kidreader.ru/author/2596\">Михаила Скобелева</a> воссоздают атмосферу беззаботного детства и как нельзя лучше соответствуют манере повествования Михаила Зощенко.\n<img src=\"/sites/default/files/galosha_cover_1.jpg\" width=\"190\" height=\"290\" />\nОт рассказов — к сказкам. Сказка-притча Антуана де Сент-Экзюпери «<a href=\"http://www.labirint.ru/books/297872/?p=4837\">Маленький принц</a>» (издательство «Эксмо») рассказывает о том, что «мы в ответе за тех, кого приручили», и о многом другом — о красоте и доброте, о дружбе и о любви. Непревзойденные авторские иллюстрации (цветные и черно-белые) отражают главное.\n<img src=\"/sites/default/files/1619419.jpg\" width=\"190\" height=\"276\" />\nНаучит не терять драгоценные дни, часы и минуты «<a href=\"http://www.labirint.ru/books/472115/?p=4837\">Сказка о потерянном времени</a>» Евгения Шварца (издательство «Речь»). Веселые цветные иллюстрации Ирины Казаковой отображают все перипетии оригинального сюжета сказки.\n<img src=\"/sites/default/files/remya_shvartzh.jpg\" width=\"190\" height=\"255\" />\n«<a href=\"http://www.labirint.ru/books/460871/?p=4837\">Всадник без головы</a>» Майн Рида (издательство «Нигма») считается одним из лучших произведений приключенческого жанра, которое не потеряло своей увлекательности для нового поколения читателей. Динамичное повествование, интригующий сюжет, харизматичные герои — и все это непревзойденный мастер Николай Кочергин отразил в своих завораживающих черно-белых иллюстрациях к этому произведению.\n<img src=\"/sites/default/files/bez_golovi_0.jpg\" width=\"190\" height=\"275\" />\nИ еще немного о приключениях. Приключенческие произведения <a href=\"http://kidreader.ru/author/2298\">Жюля Верна</a> актуальны во все времена, и у каждого поколения детей они неизменно вызывают интерес. «<a href=\"http://kidreader.ru/book/2433\">Таинственный остров</a>» (издательство «Нигма») рассказывает о том, как пятеро северян сбегают из осажденного города на воздушном шаре, но буря заносит беглецов на необитаемый остров. Им предстоит не просто выжить, но и многому научиться: разводить скот, выращивать пшеницу, изготавливать предметы труда. Текст печатается в сокращенной версии в переводе Н. Немчиновой и А. Худадовой, который признан лучшим переводом этого романа. Цветные иллюстрации известного художника <a href=\"http://kidreader.ru/author/2432\">Анатолия Иткина</a>, который мастерски изображает историко-приключенческие сюжеты, выглядят предельно реалистично.\n<img src=\"/sites/default/files/tainstvennij%20ostrov_cover.jpg\" width=\"190\" height=\"290\" />\nФантастическая повесть <a href=\"http://kidreader.ru/author/2439\">Кира Булычева</a> «<a href=\"http://kidreader.ru/book/2442\">Сто лет тому вперед</a>» (Издательский дом Мещерякова) — самая динамичная, самая приключенческая и, конечно, самая популярная из всех историй про Алису Селезневу. Героиня одолжила у папы миелофон для своих исследований, но не уберегла его, ведь космические пираты Весельчик У и Крысс только  и ждали удобного случая, чтобы украсть прибор. К счастью для Алисы, Коля из прошлого, случайно совершивший путешествие во времени, приходит ей на помощь. Но трудность в том, что теперь Алисе нужно найти Колю в прошлом, чтобы вернуть миелофон отцу. Читателей ждут путешествия во времени, невероятные интриги и неожиданная развязка…\n<img src=\"/sites/default/files/Bulychev_sto-let-tomu-vpered_COVER_2.jpg\" width=\"190\" height=\"290\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:255748b050b47fac5cccac3965d19331' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Рассказ Куприна «<a href=\"http://kidreader.ru/book/2890\">Чудесный доктор</a>» (издательство «Нигма») затрагивает самые сокровенные чувства читателей, учит состраданию, бескорыстию, человечности, неравнодушию к окружающим, силе духа и оптимизму. Речь в рассказе идет о реальном человеке — докторе Пирогове. Именно он заставляет семью Мерцаловых, которая переживает огромное горе, поверить в чудо и перебороть отчаяние. Нельзя не сказать об иллюстрациях непревзойденного <a href=\"http://kidreader.ru/author/1789\">Германа Мазурина</a> — живых, эмоциональных, драматичных. Художник нашел интересное решение, чтобы показать контраст между зимними улицами, полными народа, и гнетущей атмосферой в семье Мерцаловых.\n<img src=\"/sites/default/files/cudesnii_doktor_front.jpg\" width=\"190\" height=\"255\" />\nНе менее пронзительное произведение, которое будущим пятишклашкам предстоит прочесть, — «<a href=\"http://www.labirint.ru/books/319306/?p=4837\">Муму</a>» Тургенева (издательство «Махаон»). Властная барыня, безмолвный крепостной Герасим и беззащитная собачка оживают на ярких иллюстрациях Ольги Громовой.\n<img src=\"/sites/default/files/mumu.jpg\" width=\"190\" height=\"229\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n<a href=\"http://kidreader.ru/book/1924\">Андерсен написал «</a><a href=\"http://kidreader.ru/book/1924\">Снежную королеву</a>» (издательство «Речь») еще в 1844 году, и с тех пор на истории о Кае и Герде выросло множество поколений детей по всему миру. Сказку проиллюстрировал талантливый отечественный художник Валерий Алфеевский. В его рисунках переданы малейшие оттенки заложенного автором смысла, они образуют единство цвета и эмоций. Главное на этих иллюстрациях — придуманный художником волшебный мир, созвучный авторскому замыслу, целая волшебная Вселенная, в которой главную роль играет пространство.\n<img src=\"/sites/default/files/snejnaja-koroleva_cover.jpg\" width=\"190\" height=\"290\" />\nБез сказок Пушкина по-прежнему не обходится ни одна школьная программа. «<a href=\"http://kidreader.ru/book/1883\">Сказка о царе Салтане</a>» (издательство «Акварель») обрела новое лицо, когда за ее оформление взялся Евгений Антоненков. Художник создал не только запоминающиеся образы персонажей, но и настоящую атмосферу доброй волшебной сказки на каждой странице, на каждом развороте книги.\n<img src=\"/sites/default/files/saltan_cover_0.jpg\" width=\"190\" height=\"233\" />\nИ снова о сказках, теперь уже о русских народных. Сказка «<a href=\"http://kidreader.ru/book/2974\">Сивка-бурка</a>» (издательство «Рипол-классик») о необычном коне, который помог Иванушке-дурачку выбиться в люди, впервые вышла в России в сочетании с иллюстрациями известного российского художника Бориса Диодорова. <a href=\"http://kidreader.ru/author/32\">Борис Диодоров</a> не только создал запоминающиеся образы героев, но и уделил внимание деталям, поэтому каждую иллюстрацию можно рассматривать долго и с наслаждением — все они очень динамичные, легкие, наполненные русским национальным колоритом.\n<img src=\"/sites/default/files/sivka_burka_cover_0.jpg\" width=\"190\" height=\"268\" />\nСказы Павла Бажова поражают своим волшебством, своей таинственностью и глубоким смыслом. «<a href=\"http://www.labirint.ru/books/310353/?p=4837\">Малахитовая шкатулка. Уральские сказы</a>» (издательство «Нигма») сочетает в себе этот волшебный текст с не менее волшебными иллюстрациями талантливого художника Николая Кочергина. Помимо «Малахитовой шкатулки», в книгу вошли также «Медной горы хозяйка», «Серебряное копытце», «Каменный цветок» и другие сказы.\n<img src=\"/sites/default/files/malahit.jpg\" width=\"190\" height=\"271\" />\n«<a href=\"http://www.labirint.ru/books/229452/?p=4837\">Приключения Тома Сойера</a>» (издательство «Махаон») просто обязательны к прочтению каждым школьником. Смекалкой сорванца Тома, его озорством и страстью к приключениям можно только восхититься, а читать об этом — настоящее удовольствие. Лиричные иллюстрации австралийского художника Роберта Ингпена завораживают своей таинственностью и восхищают реалистичностью, тщательно прорисованной мимикой персонажей.\n<img src=\"/sites/default/files/priklyucheniya_toma_soyera.jpg\" width=\"190\" height=\"232\" />\n«<a href=\"http://kidreader.ru/book/1747\">Робинзон Крузо</a>», написанный Даниелем Дефо, — один из самых знаменитых романов в истории литературы, который принес автору мировую известность. Но книга издательства «Клевер» — это не только роман Дефо, она необычна тем, что включает в себя еще и познавательный компонент. Помимо текста произведения, в издание включены занимательная инфографика, полезные ссылки и схемы, которые рассказывают о том, как можно завязать морской узел, добыть огонь, приручить диких коз, какое количество пищи ежедневно необходимо человеку и многое другое.\n<img src=\"/sites/default/files/kruzo_clever.jpg\" width=\"190\" height=\"290\" />\n<a href=\"http://kidreader.ru/book/2033\">«</a><a href=\"http://kidreader.ru/book/2033\">Хоббит, или Туда и Обратно</a>» (издательство «АСТ») погружает читателей в фантастический мир, населенный эльфами, магами, гномами, драконами и множеством других существ, среди которых живет хоббит Бильбо Бэггинс — гурман и слагатель песен. Его друг, добрый и могущественный волшебник Гэндальф, выдает Бильбо за профессионального вора, чтобы он возглавил отряд гномов и помог им забрать сокровища у огнедышащего дракона… Издание выделяют иллюстрации Дениса Гордеева: они выглядят максимально реалистично, несмотря на то, что изображают фантастичный мир.\n<img src=\"/sites/default/files/Hobbit_cover.png\" width=\"190\" height=\"290\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:51940c3be4ca958bf06dfd58fffa01c1' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'О том, как можно обрести друга в новом для себя городе, расскажет книжка-картинка «<a href=\"http://kidreader.ru/book/2995\">Оливер и Пэтч</a>» (издательство «Поляндрия»). Многочисленные яркие и веселые иллюстрации к этой доброй и трогательной истории нарисовала молодая английская художница <a href=\"http://kidreader.ru/author/2994\">Кейт Хиндли</a>. Благодаря ее рисункам, на каждой странице книги читатель увидит не только проявления глубоких детских чувств, но и весь спектр эмоций персонажей.\n<img src=\"/sites/default/files/Oliver_cover.jpg\" width=\"190\" height=\"192\" />\nНовая книжка-картинка известного бельгийского художника <a href=\"http://kidreader.ru/author/3072\">Квентина Гребана</a> «<a href=\"http://kidreader.ru/book/3073\">Сюрприз для мамы</a>» (издательство «Энас-книга») продолжает рассказывать о божьей коровке Сюзетте, которая на этот раз смастерила самодельный горшочек с цветами, чтобы порадовать маму. Подарок получился просто отличным, но только маме он так и не достался — Сюзетта уронила горшочек, когда несла его домой. Теперь маленькой божьей коровке срочно нужно сделать новый подарок для своей мамы, а помогут ей в этом обитатели леса — улитка, гусеница, паучок, пчелка и муравьи. Сюжет новой истории трогает своей простотой, искренностью и добротой, а нежные, воздушные иллюстрации прекрасно дополняют повествование.\n<img src=\"/sites/default/files/Surpriz_dlya_mam.jpg\" width=\"190\" height=\"263\" />\nХотите знать, как происходит фокус с исчезновением и в чем его секрет? Мальчик Антон из книжки-картинки «<a href=\"http://kidreader.ru/book/3115\">Антон и волшебная шляпа</a>» (издательство «КомпасГид») с радостью его продемонстрирует, ведь он проделал этот фокус и с маленькой птичкой, и со своим другом Лукасом. Легкую и остроумную историю про Антона прекрасно дополняют яркие и забавные сюжетные иллюстрации <a href=\"http://kidreader.ru/author/3113\">Оле Кеннеке</a>, они позволят маленьким читателям увидеть волшебство своими глазами.\n<img src=\"/sites/default/files/anton_shlyapa%20cover_0.jpg\" width=\"193\" height=\"190\" />\nЧитать книгу, в которой любознательный главный герой (а точнее — главная героиня) учится читать, — значит еще больше полюбить книги и вдохновиться прекрасным примером персонажа. «<a href=\"http://www.labirint.ru/books/464772/?p=4837\">Мама Му читает</a>» (издательство «Белая ворона») — это незамысловатая, но веселая и жизнерадостная история, в которой оптимистичная Мама Му осваивается в мире книг, а ее друг ворон Кракс пытается разгадать секрет: почему трава зеленая, а молоко у коровы белое? Теплые цветные иллюстрации к «Маме Му…» нарисовал всемирно известный <a href=\"http://kidreader.ru/author/771\">Свен Нурдквист</a>, покоривший детей со всего света историями про <a href=\"http://kidreader.ru/book/2382\">Петсона и Финдуса</a>. У Нурдквиста прекрасно получилось передать доброту и трогательность истории.\n<img src=\"/sites/default/files/MM_read-Cover.jpg\" width=\"190\" height=\"257\" />\nЕсть такие книжки-картинки, которые предназначены для детей постарше. Их главная цель — заинтересовать ребенка чтением. В числе таких книг — «<a href=\"http://kidreader.ru/book/3004\">26-этажный дом на дереве</a>» (издательство «Livebook»). Герои живут в доме, о котором наверняка мечтает любой ребенок: 26 этажей, арена для борьбы в грязи, автодром с электрическими машинами и даже капсула невесомости! Приключения Энди и Терри подробно отражены на веселых и остроумных черно-белых иллюстрациях Терри Дентона, которые «договаривают» то, что не было сказано в тексте.\n<img src=\"/sites/default/files/26dom_1.jpg\" width=\"190\" height=\"269\" />\nКнижки-картинки бывают не только сюжетными, но и познавательными, ведь малышам подчас гораздо легче усвоить новые знания визуально. «<a href=\"http://kidreader.ru/book/3050\">Город над землей и под землей</a>» (издательство «Манн, Иванов и Фербер») — это познавательная книжка, предназначенная для рассматривания. Здесь все прорисовано в деталях: красивая и нежная весна в городском парке, оживленное движение в торговом квартале, масштабная стройка на городской площади… Главное, что можно посмотреть не только на наземные постройки, но и на жизнь подземелья — книга знакомит детей с устройством метро и канализации, с механизмом лифта и с подземной парковкой, а также обращает внимание на  жизнь животных под землей. Каждый раздел не только отображает какой-то аспект жизни города, но и насыщен сюрпризными моментами, которые «подогреют» интерес маленьких читателей: часть информации «прячется» за открывающимися клапанами.\n<img src=\"/sites/default/files/gorod_nad_zemley_front_600.jpg\" width=\"210\" height=\"107\" />\nСпираль часто встречается в живой и неживой природе, форму спирали имеют океанские волны, водовороты, улитки и даже молекула ДНК. Изящная книжка-картинка «<a href=\"http://www.labirint.ru/books/480305/?p=4837\">Живые спирали</a>» (издательство «Карьера пресс») не только показывает детям многообразие спиралей, но и учит малышей наблюдению за окружающим миром, что особенно важно в раннем возрасте. Иллюстрации Бет Кроммес, выполненные в необычной технике скретчборда, заполняют все пространство книги и открывают ребенку удивительный мир вокруг нас, в котором спиралям отведена значительная роль.\n<img src=\"/sites/default/files/spirali.jpg\" width=\"200\" height=\"208\" />\nЕще одна познавательная книжка-картинка — «<a href=\"http://kidreader.ru/book/3226\">Веселые пряталки на футболе</a>» (издательство «Нигма»). Как известно, футбол — любимая игра мальчишек во всем мире, и с самого раннего детства им интересны ее правила, ее особенности, да и вообще все, что с ней связано. «Веселые пряталки…» прекрасно подходят для первого знакомства малышей с футболом, книга содержит множество деталей, которые можно без устали разглядывать; тут проиллюстрированы основные правила игры, отражены эмоции болельщиков и игроков команд, изображен ход игры и нарисованы многочисленные мелкие предметы, имеющие косвенное отношение к футболу — перчатки вратаря, кубок, флаг, свисток, — эти предметы разбросаны по иллюстрациям, и малышам необходимо их найти.\n<img src=\"/sites/default/files/futbol.jpg\" width=\"190\" height=\"253\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:45b1f41fd1b7feb5f4aa72efd3fa5490' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Рассказывать о войне никогда не рано, и книга Анатолия Митяева «<a href=\"http://www.labirint.ru/books/478179/?p=4837\">Подвиг солдата</a>» (издательство «Речь») лишний раз это подтверждает. В сборник вошли шесть рассказов, по-доброму раскрывающих военные будни, простые жизненные ситуации, которые случались в то время с обыкновенными людьми — солдат пишет письмо матери, неопытный боец в первый раз роет окоп, два друга-танкиста не бросают друг друга в беде… Что немаловажно, каждая история заканчивается хорошо. Все эти небольшие рассказы будут доступны для понимания дошкольников и младших школьников, а прекрасные иллюстрации Владимира Гальдяева помогут лучше представить то, о чем пишет автор.\n<img src=\"/sites/default/files/podvig_cover.jpg\" width=\"190\" height=\"244\" />\nВиктор Драгунский хорошо знаком детям по «Денискиным рассказам», но его автобиографическая повесть о Великой Отечественной войне «<a href=\"http://www.labirint.ru/books/371422/?p=4837\">Он упал на траву</a>» (издательство «Самокат») — совсем другого рода и открывает читателям совершенно другого автора. Здесь речь идет о московском ополчении, о том, как москвичи, которые по разным причинам не попали под призыв, отправились рыть окопы, не имея военной подготовки и оружия в руках. Несмотря на то, что книга эта о войне, здесь нет описания боевых действий, здесь нет очевидных подвигов, но есть большое дело, в котором участвует каждый, есть человеческие чувства и простые, понятные каждому ценности.\n<img src=\"/sites/default/files/na%20travy.jpg\" width=\"190\" height=\"271\" />\nПовесть «<a href=\"http://www.labirint.ru/books/481483/?p=4837\">Великое противостояние</a>», написанная классиком детской литературы Львом Кассилем, (издательство «Клевер») просто обязательна к прочтению. Это произведение не только о самой войне, но и предвоенных годах, не только о героических подвигах, но и о зарождающихся романтических чувствах, не только о суровых реалиях того времени, но и об исполнении мечты, обретении себя. Кроме самой повести, в книгу вошли исторические комментарии и документальные фотографии, которые позволят читателям глубже прочувствовать атмосферу тех лет.\n<img src=\"/sites/default/files/protivostoyanie.jpg\" width=\"184\" height=\"280\" />\nБезусловно, детям куда интереснее читать про детей на войне, чем про взрослых. Книга Вильяма Козлова «<a href=\"http://www.labirint.ru/books/483734/?p=4837\">Витька с Чапаевской улицы</a>» (издательство «Рипол-классик») — о судьбах друзей, которых начало войны застало в походе. Читатель знакомится с героями еще до войны, проникается к ним симпатией, и тут понимает, что война кардинально изменила каждого: один превратился в настоящего вора, другой сделался трусом, а кто-то неожиданно открыл в себе лидерские качества.\n<img src=\"/sites/default/files/vitka_cover.jpg\" width=\"190\" height=\"266\" />\nВ редких книгах о Великой Отечественной войне в центре внимания автора находится женщина. Тем ценнее роман Марии Глушко «<a href=\"http://www.labirint.ru/books/483378/?p=4837\">Мадонна с пайковым хлебом</a>» (издательство «Речь»), главная героиня которого в 1941 году ожидает ребенка, прощается с мужем и уезжает в эвакуацию. В годы войны молоденькой Нине Нечаевой придется столкнуться с лишениями, ощутить на себе ужас голода и потерь, но при этом закалиться, проявить стойкость и решительность, испытать подлинную материнскую любовь и получить неоценимую помощь от, казалось бы, совершенно посторонних людей.\n<img src=\"/sites/default/files/madonna_cover.jpg\" width=\"190\" height=\"256\" />\nСовременные писатели не менее искренне и пронзительно пишут о войне для подростков. «<a href=\"http://kidreader.ru/book/3215\">Тайна брата</a>» Дэна Смита (издательство «Клевер») — это предельно искренняя и честная история, в которой любовь, преданность, мужество и справедливость одерживают победу над фашистским режимом. В этой книге рассказывается о немецкой молодежи, входившей в организацию «Пираты Эдельвейса», которая поддерживала военнопленных, укрывала дезертиров и евреев, распространяла листовки и в 1944 году жестоко пострадала за свои убеждения и действия.\n<img src=\"/sites/default/files/taina_cover_0.jpg\" width=\"190\" height=\"289\" />\nЭдуард Веркин мастерски умеет раскрывать популярные темы, на которые уже много сказано и написано, по-новому. Его «<a href=\"http://www.labirint.ru/books/360547/?p=4837\">Облачный полк</a>» (издательство «КомпасГид») посвящен Великой Отечественной войне, но при этом лишен пафоса и стереотипного сюжета. Здесь ярко, глубоко и эмоционально представлена война без прикрас, все беспощадно и правдиво, здесь используются реальные факты, описаны реальные люди под реальными именами, и представлено все это так, что никто просто не сможет остаться безучастным. Жизнь партизан читатель увидит глазами подростков, проникнется их переживаниями и не останется равнодушным к их судьбам…\n<img src=\"/sites/default/files/oblachniy_cover.jpg\" width=\"190\" height=\"283\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:912f05a73ba639d5269c249eeb728358' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '«<a href=\"http://kidreader.ru/book/3149\">Линдберг. Невероятные приключения летающего мышонка</a>» (издательство «Поляндрия») — это сказочная история о мышонке, который мечтает пересечь Атлантический океан и намеревается создать для этого летательный аппарат. Главную роль в книге играют иллюстрации <a href=\"http://kidreader.ru/author/3144\">Торбена Кульманна</a>. Они настолько самодостаточны и насыщены таким количеством деталей, что историю можно прочувствовать и понять даже без текста, просто рассматривая картинки. Несмотря на сказочность сюжета, по иллюстрациям художника можно проследить реальную историю воздухоплавания. Любопытные маленькие читатели, интересующиеся историей и техникой, найдут на страницах книги изображения дельтаплана, биплана и одномоторного самолета.\n<img src=\"/sites/default/files/lindberg_cover.jpg\" width=\"190\" height=\"248\" />\nВзяв за основу классическую сказку, можно запросто создать новый современный шедевр. Именно так и поступила японская художница <a href=\"http://kidreader.ru/author/2929\">Айяно Имаи</a>, когда превратила сказку Шарля Перро «Кот в сапогах» в книжку-картинку «<a href=\"http://kidreader.ru/book/2930\">Кот и сапоги</a>» (издательство «Клевер»). Акцент в новой версии этой сказки сделан на красочных иллюстрациях, которые с лихвой компенсируют краткость изложения. Иллюстрации <a href=\"http://kidreader.ru/author/2929\">Айяно Имаи</a> отличаются сдержанной цветовой гаммой, яркими образами каждого персонажа, множеством интересных деталей и выдержанным стилем.\n<img src=\"/sites/default/files/sapogi.jpg\" width=\"190\" height=\"223\" />\nОпера тоже может стать основой для детской книги, и «<a href=\"http://kidreader.ru/book/2631\">Мадам Баттерфляй</a>» (издательство «Махаон») — прекрасное тому подтверждение. Трагическая история любви гейши Чио-Чио-Сан (она же Мадам Баттерфляй) к офицеру Пинкертону пересказана максимально просто, ведь все детали отражены в иллюстрациях. Французский иллюстратор <a href=\"http://kidreader.ru/author/2630\">Бенжамен Лакомб</a> удивительно точно передал атмосферу и национальный колорит старой Японии, его иллюстрации буквально воскрешают перед читателями сюжет любовной драмы, придавая реалистичные краски описываемым событиям. Ключевой неповторимой деталью издания стал стильный и необыкновенно нежный 10-метровый фриз, который размещен на обороте сложенных веером страниц.\n<img src=\"/sites/default/files/madam_cover_0.jpg\" width=\"190\" height=\"290\" />\nВсем известная «<a href=\"http://www.labirint.ru/books/478931/?p=4837\">Книга Джунглей</a>» Киплинга, рассказывающая о человеческом детеныше, воспитанном в стае волков, выпущена в новом переводе издательством «Абрикобукс». Повествование дополняют прекрасные черно-белые и цветные иллюстрации испанского художника-анималиста Анхеля Домингеса, обладателя наград «Лучшая книга для детей» и «Лучшая иллюстрированная книга». Восхищает необыкновенная реалистичность этих иллюстраций и невероятно трогательный образ главного героя — Маугли.\n<img src=\"/sites/default/files/junglebook-cover-3d.png\" width=\"190\" height=\"338\" />\nПознавательная книга «<a href=\"http://kidreader.ru/book/3168\">Марк Твен</a>» (издательство «Рипол классик») преподносит детям биографию писателя в увлекательной форме и вдохновляет читателей следовать его примеру: идти к своей мечте, добиваться цели, преодолевать трудности. Каждую страницу этого издания украшают красочные, предельно реалистичные и при этом завораживающе прекрасные иллюстрации художника <a href=\"http://kidreader.ru/author/3167\">Андреа ди Дженнаро</a>. Художник не просто передал образ писателя в разные годы его жизни, но и по-своему воссоздал атмосферу, в которой происходят действия, описанные в книге.\n<img src=\"/sites/default/files/mark%20tven_cover.jpg\" width=\"190\" height=\"261\" />\n«<a href=\"http://www.ozon.ru/context/detail/id/29123716/?partner=kidreader\">Пиковую даму</a>» Пушкина (издательство «Росмэн») знают и любят не только в России, и иллюстрируют ее не только русские художники. На каждой иллюстрации всемирно известного титулованного болгарского художника Ясена Гузелева оживают персонажи этой мистической повести. Художник использовал сдержанную цветовую гамму и тем самым усилил впечатление от текста, придал еще большей таинственности этой истории. При этом Гузелев уделил большое внимание деталям и прекрасно передал реалии того времени.\n<img src=\"/sites/default/files/pikovaya.jpg\" width=\"190\" height=\"269\" />\nРассказ «<a href=\"http://kidreader.ru/book/2677\">Крылатые кошки</a>» Урсулы ле Гуин (издательство «Карьера пресс»), в котором котята Джеймс, Роджер, Тельма и Харриет преодолевают трудности и ищут добрые руки, готовые их приютить, можно было бы назвать очень реалистичным, если бы не тот факт, что у котят есть крылья. Цветные иллюстрации <a href=\"http://kidreader.ru/author/2676\">Стива Шиндлера</a> на каждом развороте прекрасно отражают повадки и мимику кошек, при этом заставляют читателей глубже прочувствовать непростую историю этих крылатых созданий.\n<img src=\"/sites/default/files/krilatiye_cover.jpg\" width=\"190\" height=\"271\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:a09aae188226b0249327d71214f23c91' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Когда в книге сначала появляются иллюстрации и только потом — текст, это действительно необычно. Сборник стихотворений <a href=\"http://kidreader.ru/author/100\">Игоря Шевчука</a> «<a href=\"http://kidreader.ru/book/3122\">На краю детства</a>» (издательство «Детгиз») создавался именно таким путем. Яркие, эмоциональные, многогранные, атмосферные иллюстрации <a href=\"http://kidreader.ru/author/2132\">Александры Ивойловой</a>, вокруг которых построен текст стихотворений, встречают читателя на каждой странице и переносят его в удивительный, таинственный и волшебный мир вымысла.\n<img src=\"/sites/default/files/na%20krayou_cover.jpg\" width=\"197\" height=\"200\" />\nЕще один сборник стихотворений, но выполненный в совершенно другом ключе, — «<a href=\"http://www.labirint.ru/books/226562/?p=4837\">Глупая лошадь</a>» Вадима Левина (издательство «Махаон»). Озорные, остроумные стихи Вадима Левина написаны в нестандартной манере — в стиле старинных английских песенок и стишков. Удивительные рисунки непревзойденного мастера книжной иллюстрации Евгения Антоненкова прекрасно дополняют текст и «договаривают» то, что не сказал автор. Жизнерадостные, фантазийные, разноплановые, образные, яркие и запоминающиеся, эти иллюстрации создают особую атмосферу на каждой странице книги.\n<img src=\"/sites/default/files/loshad_cover.jpg\" width=\"200\" height=\"180\" />\nВсемирно известная сказка <a href=\"http://kidreader.ru/author/518\">братьев Гримм</a> «<a href=\"http://kidreader.ru/book/3146\">Бременские музыканты</a>» (издательство «Речь») заиграла новыми красками, благодаря иллюстративному оформлению <a href=\"http://kidreader.ru/author/47\">Игоря Олейникова</a> — известного художника детской книги. Цветные иллюстрации <a href=\"http://kidreader.ru/author/47\">Игоря Олейникова</a> необыкновенно динамичны и при этом буквально заряжены атмосферой сказочности. В результате живые и образные иллюстрации художника образуют единое, неделимое целое с текстом всем известной сказки. У каждого из основных героев в интерпретации иллюстратора получился свой харизматичный и неповторимый образ.\n<img src=\"/sites/default/files/bremen_cover.jpg\" width=\"190\" height=\"265\" />\nПознавательная книга «<a href=\"http://kidreader.ru/book/3024\">Ганс Христиан Андерсен</a>» (издательство «Рипол Классик) рассказывает вдохновляющую историю становления великого сказочника. Яркие, волшебные, таинственные, эмоциональные иллюстрации <a href=\"http://kidreader.ru/author/1815\">Кирилла Челушкина</a> украшают каждую страницу издания. Художник передал не только образ Андерсена, но и его мировосприятие, а также образы некоторых героев его сказок.\n<img src=\"/sites/default/files/andersen_cover.jpg\" width=\"190\" height=\"258\" />\nСборник венгерских народных сказок «<a href=\"http://kidreader.ru/book/3154\">Круглый камень</a>» (издательство «Мелик-Пашаев») проиллюстрировал известный российский художник <a href=\"http://kidreader.ru/author/32\">Борис Диодоров</a>. Художнику удалось передать динамику каждой сказки: сюжет развивается не только в тексте, но и на каждом рисунке. Иллюстрации не просто украшают каждый разворот сборника, для них найдено оригинальное дизайнерское решение — каждая иллюстрация помещена в особый орнамент по спирали, что выглядит очень необычно и стильно.\n<img src=\"/sites/default/files/Krugl_kamen%27_cover.jpg\" width=\"190\" height=\"290\" />\nКнига «<a href=\"http://kidreader.ru/book/3173\">Азбука. Игра в слова</a>» (издательство «Эксмо») — это интерактивная азбука, оставляющая простор для детского воображения. У художницы Дарьи Герасимовой азбука буквально оживает: на каждой странице книги появляются изображения странных, но очень симпатичных персонажей, а буквы алфавита становятся местом их обитания. В результате теплые и уютные иллюстрации, созданные в коронном стиле художницы, превращают изучение азбуки в творческий процесс, в котором могут участвовать не только дети, но и родители.\n<img src=\"/sites/default/files/azbuka_eksmo.jpg\" width=\"190\" height=\"281\" />\nБылина о находчивом новгородском гусляре «<a href=\"http://www.labirint.ru/books/456364/?p=4837\">Садко</a>» (издательство «Рипол Классик») хорошо знакома многим взрослым и детям, но в оформлении Геннадия Спирина она представляется совершенно по-новому и становится гораздо ближе читателю, ведь масштабные красочные иллюстрации художника занимают значительное пространство книги и практически превращают ее в альбом. Каждая иллюстрации Спирина пронизана волшебством, сказочностью, и при этом предельно реалистично передает характер новгородцев, их быт, тщательно прорисованы детали, мимика, жесты. Такие иллюстрации априори притягивают взгляд.\n<img src=\"/sites/default/files/sadko.jpg\" width=\"195\" height=\"200\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nНовая веселая повесть-сказка Антона Сои «<a href=\"http://kidreader.ru/book/3054\">Маша и Аркаша-таракаша</a>» (издательство «Росмэн») способна убедить кого угодно в том, что таракан может быть ужасно милым, модным насекомым, и к тому же — настоящим интеллектуалом. «Машу и Аркашу-таракашу» проиллюстрировал известный художник-мультипликатор <a href=\"http://kidreader.ru/author/2943\">Сергей Гаврилов</a>, лауреат конкурса «Книга года – 2014». Яркие и веселые иллюстрации Сергея Гаврилова к «Аркаше…» создают настроение на страницах книги.\n<img src=\"/sites/default/files/Masha%2526Tarakasha_Cover.jpg\" width=\"190\" height=\"244\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:ec4bbf428d9d01a490f05039824163dd' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Классики русской литературы нередко затрагивали тему Пасхи в своих произведениях, и издательство «Никея» собрало эти стихи и пасхальные рассказы воедино и выпустило «<a href=\"http://www.labirint.ru/books/380427/?p=4837\">Пасхальную книгу для детей</a>». В сборник вошли стихотворения Есенина, Лермонтова, Фета, а также рассказы Куприна, Чехова, Чарской и других писателей. Издание украсили яркие и оптимистичные иллюстрации <a href=\"http://kidreader.ru/author/1388\">Дианы Лапшиной</a>, созданные в ее коронном, хорошо узнаваемом стиле,  они привнесли в книгу атмосферу приближающегося праздника. Также в книге есть приятное праздничное дополнение: пасхальные открытки, в которых помимо прекрасных рисунков оставлено место для написания поздравлений. Открытки можно вырезать и сделать приятное близкому человеку.\n<img src=\"/sites/default/files/pashalnaya.jpg\" width=\"190\" height=\"253\" />\nЕще одна художественная книга о праздновании Пасхи — «<a href=\"http://www.labirint.ru/books/476265/?p=4837\">Светлый праздник. Пасхальные рассказы</a>» (издательство «Рипол Классик»). Добрые и искренние рассказы Чехова, Бунина, Куприна, Ушинского и других русских писателей о Пасхе, безусловно, создают определенное настроение. В качестве иллюстраций в издании используются старинные гравюры, которые не отвлекают читателей от текста, но погружают их в атмосферу этого удивительного праздника.\n<img src=\"/sites/default/files/rasskazi_ripol.jpg\" width=\"190\" height=\"257\" />\nСовсем маленьким детям будет проще познакомиться с праздником Пасхи через иллюстрации. Российское библейское общество предусмотрело это и выпустило небольшую книжку-панорамку «<a href=\"http://www.labirint.ru/books/472123/?p=4837\">Святая Пасха. Четыре библейские истории</a>». В книгу вошли коротенькие рассказы о Тайной вечере, о въезде Иисуса в Иерусалим, о распятии и воскресении Иисуса. Яркие панорамные иллюстрации помогут малышам получить представление об истории возникновения праздника Пасхи.\n<img src=\"/sites/default/files/pasha.jpg\" width=\"200\" height=\"251\" />\nВ «<a href=\"http://www.labirint.ru/books/366431/?p=4837\">Детскую Библию</a>» Тони Вульфа (издательство «АСТ») вошли не только пасхальные сюжеты. Автор рассказывает дошкольникам обо всей земной жизни Иисуса Христа: как Он родился, каким было Его детство, как у Него появились ученики, какие чудеса Он совершал, как Он был распят и воскрес. Все эти истории подкреплены красочными иллюстрациями автора, на которых детально прорисован каждый библейский сюжет.\n<img src=\"/sites/default/files/bibliya_vulf.jpg\" width=\"190\" height=\"174\" />\n«<a href=\"http://www.labirint.ru/books/416361/?p=4837\">Иллюстрированная детская Библия</a>» (издательство «Эксмо») рассчитана на детей постарше. Библейские сюжеты (как из Ветхого, так и из Нового Заветов) были отобраны и пересказаны протоиереем Александром Соколовым, чье изложение считается классическим. Это издание детской Библии выделяется своим неповторимым иллюстративным оформлением, ведь издательство «Эксмо» впервые в мире выпустило в  цветном исполнении шедевральные иллюстрации всемирно известного художника Гюстава Доре!\n<img src=\"/sites/default/files/ill_bibliya_eksmo.jpg\" width=\"190\" height=\"251\" />\n«<a href=\"http://www.labirint.ru/books/304057/?p=4837\">Священная история</a>», пересказанная священником П. Н. Воздвиженским, (издательство «Даръ») сопровождается современными комментариями, чтобы текст был максимально понятен детям. Религиозным семьям будет немаловажно узнать, что эта книга была рекомендована к изданию Издательским Советом Русской Православной Церкви. В качестве иллюстраций в «Священной истории» используются репродукции картин Айвазовского, Васнецова, Поленова, Репина, Рембрандта, Джотто и других художников, а также иконографические изображения, фотографии и карты. Такое многообразие иллюстративного материала позволит ребенку полностью погрузиться в мир основных библейских сюжетов.\n<img src=\"/sites/default/files/svyashennaya_cover.jpg\" width=\"190\" height=\"256\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:501920f7313b1fe24d0f445f9a7c90cb' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Анна Никольская способна даже такую консервативную тему, как воспитание детей, перевернуть с ног на голову! Ее «<a href=\"http://kidreader.ru/book/3107\">Чемодановна</a>» (издательство «Росмэн») — это непоучительная, но очень веселая сказочная повесть, в которой нашлось место и для настоящего чуда, и для захватывающих приключений, и для эффектных разоблачений. Боря и Оля Прикольские — брат и сестра близнецы — страдают от тирании собственной няни, Изольды Тихоновны Кикиморовой, но их жизнь кардинально меняется, когда в дом к Прикольским буквально как снег на голову сваливается Чемодановна. Эта невероятная женщина, у которой большими были не только бородавки, челюсть и размер ноги, но и сердце и душа, оказалась бабушкой близнецов. Уж она-то наведет в этом доме порядок!\n<img src=\"/sites/default/files/chemodanovna_cover.jpg\" width=\"190\" height=\"227\" />\nСказочная повесть <a href=\"http://kidreader.ru/author/2455\">Антона Сои</a> «<a href=\"http://kidreader.ru/book/2783\">Звездочка, спой!</a>» (издательство «АСТ») начинается весьма необычно для веселой детской книги — с экологической катастрофы. Реку Синьку своими отходами загрязнил завод «Химикола». Но нет худа без добра, ведь лошадка Звездочка благодаря этому несчастью научилась разговаривать и открыла в себе талант к пению! Теперь ей предстоит покорить своими песнями Москву…Удивительно и забавно то, что во многих героях книги угадываются реальные звезды нашей отечественной эстрады. Яркие, веселые, ироничные и невероятно смешные иллюстрации к сказочной повести создал художник <a href=\"http://kidreader.ru/author/1529\">Николай Воронцов</a>.\n<img src=\"/sites/default/files/Zvezdochka_cover1_0.jpg\" width=\"190\" height=\"253\" />\nКнига «<a href=\"http://kidreader.ru/book/2853\">Лекарство от послушности</a>» (издательство «Махаон») — идеальное средство для поднятия настроения, ведь она пробуждает от спячки живое детское воображение. Коротенькие рассказы Ксении Драгунской буквально заряжены позитивом, а еще атмосферой веселья и шалостей! <a href=\"http://kidreader.ru/author/2852\">Ксения Драгунская</a> — неисправимый фантазер, который рассказывает о том, что случается с копушами, к чему может привести первая любовь, как появляются гномики, как ежик может превратиться в самый настоящий ананас, и о многом-многом другом. В этой книге у старушек запросто могут вырасти усы от вранья, а коты умеют разговаривать.\n<img src=\"/sites/default/files/lekarstvo_cover_0.jpg\" width=\"190\" height=\"237\" />\nБританская писательница Энн Файн доказала, что отрицательный персонаж, если сделать его смешным и забавным, запросто может стать безусловным любимцем читателей. Герой ее книги «<a href=\"http://www.labirint.ru/books/262040/?p=4837\">Дневник кота-убийцы. Возвращение кота-убийцы</a>» (издательство «Самокат») — обаятельный, вредный до невозможности и, бесспорно, харизматичный кот-писатель Таффи, который доставляет массу неудобств своим хозяевам и способен вызвать приступ смеха не только у детей, но и у их родителей.\n<img src=\"/sites/default/files/kot_samokat.jpg\" width=\"190\" height=\"269\" />\nСмешными могут быть не только прозаические тексты, но и стихи. У писателя-сатирика <a href=\"http://kidreader.ru/author/2768\">Виктора Шендерович</a>а вышел сборник детских стихов «<a href=\"http://kidreader.ru/book/2777\">Тяжело без крокодила</a>» (издательство «КомпасГид») — живых, забавных, с искрометным юмором и необычными сравнениями. В сборник вошли 6 стихотворений: о том, как жилось бы крокодилу, будь он домашним животным, о том, как проходят перемены в школе, о непослушных детях, об использовании космолета-пылесоса, а также о многих других интересных фантазиях и реальных происшествиях. Яркие, озорные, смелые иллюстрации <a href=\"http://kidreader.ru/author/2769\">Алисы Сербиненко</a> создают настроение книги.\n<img src=\"/sites/default/files/KompasGuide%20Shenderovich%20Stihi%20Oblozhka.jpg\" width=\"190\" height=\"229\" />\nГоворя о самых веселых книгах, нельзя не вспомнить некоторые шедевры советского времени. Шалости и проказы неугомонных Лели и Миньки — героев рассказов <a href=\"http://kidreader.ru/author/2595\">Михаила Зощенко</a> — будоражили воображение не одного поколения детей, эти забавные истории про брата и сестру продолжают веселить малышей до сих пор. В сборник «<a href=\"http://kidreader.ru/book/2597\">Галоши и мороженое</a>» (издательство «Нигма») вошли 9 рассказов Зощенко, в том числе: «Елка», «Бабушкин подарок», «Не надо врать», «Находка» и «Путешественники». Все эти произведения написаны невероятно тонко, с юмором, присущим автору, и, конечно, поучительно, но без нудных нотаций. Иллюстрации <a href=\"http://kidreader.ru/author/2596\">Михаила Скобелева</a> воссоздают атмосферу беззаботного детства и как нельзя лучше соответствуют манере повествования Михаила Зощенко.\n<img src=\"/sites/default/files/galosha_cover_0.jpg\" width=\"190\" height=\"268\" />\nВеселый рассказ Николая Носова «<a href=\"http://www.labirint.ru/books/465570/?p=4837\">Три охотника</a>» (издательство «Мелик-Пашаев») легко и с юмором доносит серьезную мысль: не нужно убивать животных. А герои-охотники — дядя Ваня, дядя Федя и дядя Кузьма — подают прекрасный пример альтернативного времяпровождения на природе. Вместо того, чтобы охотиться на зверей, они рассказывают друг другу истории — одна другой увлекательнее. Читать о приключениях трех друзей невероятно смешно, а иллюстрации Ивана Семенова только добавляют озорства этому изданию.\n<img src=\"/sites/default/files/ohotniki_cover.jpg\" width=\"190\" height=\"246\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:062405f0967980b38df1a2158a5cfe91' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Если во время каникул никаких путешествий не предвидится, то стоит хотя бы о путешествии прочитать. «<a href=\"http://kidreader.ru/book/3061\">Мальчик и Медведь в лодке</a>» Дэйва Шелтона (издательство «Поляндрия») — это удивительная повесть-сказка о странствиях, о рождении настоящей дружбы, о ценности взаимоотношений и о том, как важно сохранять оптимизм и радоваться даже самым простым вещам. Мальчик и Медведь плывут по морю в лодке, а вокруг — никого. Как они туда попали — загадка для читателя. С собой у героев только чемодан, любимый комикс и гавайская гитара. Нешуточные опасности в виде бушующих волн, корабля-призрака, морского чудовища и собственных страхов могут сыграть с путешественниками злую шутку. Что ждет их впереди?\n<img src=\"/sites/default/files/medved_cover.jpg\" width=\"190\" height=\"266\" />\nДетские книги о дружбе придутся как нельзя кстати во время отдыха, ведь в каникулы общение с друзьями выходит за рамки школы. «<a href=\"http://kidreader.ru/book/3028\">Флора и Одиссей. Блистательные приключения</a>» (издательство «Махаон») — фантастическая, юморная и невероятно трогательная история о дружбе и взаимовыручке, которую придумала известная американская писательница <a href=\"http://kidreader.ru/author/3027\">Кейт ДиКамилло</a>. Обыкновенной девочке Флоре предстоит помочь необыкновенному бельчонку Одиссею раскрыть его способности и найти им применение, а Одиссею нужно спасти Флору от гнетущего одиночества и проблем с родителями и научить ее по-другому смотреть на мир.\n<img src=\"/sites/default/files/Flory_i_Odisseya_Proof.jpg\" width=\"190\" height=\"249\" />\nБольшая маленькая девочка продолжает радовать школьников своими приключениями. Восьмая история «<a href=\"http://kidreader.ru/book/2876\">Дело о клетчатой сумке</a>» (издательство «КомпасГид») получилась прямо-таки детективной. Насмотревшись популярного сериала про Шерлока Холмса, Большая Маленькая девочка Женя стала вовсю практиковать дедуктивный метод. В домашних условиях он у Жени работал безотказно, но как только представился случай опробовать дедуктивный метод в экстремальной ситуации, чтобы вычислить обладателя забытой клетчатой сумки, девочка столкнулась со сложностями. Что же скажут о преступнике засохший розовый лак, помада и журнал «Мир звезд»?\n<img src=\"/sites/default/files/Big_little_girl_8_cover.jpg\" width=\"190\" height=\"223\" />\nПродолжаем тему приключений. «<a href=\"http://kidreader.ru/book/3046\">Приключения Электроника</a>» Евгения Велтистова (издательство «Рипол Классик») не теряют своей привлекательности для школьников. Сережа Сыроежкин встречает робота, похожего на него как две капли воды, и не может удержаться от соблазна отправить Электроника в школу вместо себя. В результате робот покорил одноклассников и учителей, а Сережа — получил больше свободного времени и смог сколько душе угодно наслаждаться своими фантазиями. Но не все так просто…\n<img src=\"/sites/default/files/electronik_cover_0.jpg\" width=\"190\" height=\"290\" />\nГоворя о самых увлекательных книгах для чтения на каникулах, нельзя не упомянуть произведения Астрид Линдгрен. Например, ее сказочную повесть «<a href=\"http://www.labirint.ru/books/455022/?p=4837\">Рони, дочь разбойника</a>» (издательство «Махаон»). Единственная дочь атамана, Рони была долгое время предоставлена сама себе, пока не узнала, что в другой половине замка живет враждебная шайка разбойников. Вот только Рони не может относиться к ним как к врагам, ведь она познакомилась с сыном атамана этой шайки — Бирком, веселым и отважным мальчуганом.\n<img src=\"/sites/default/files/978-5-389-06598-7.jpg\" width=\"190\" height=\"257\" />\nС Денисом Кораблевым из «<a href=\"http://kidreader.ru/book/2607\">Денискиных рассказов</a>» <a href=\"http://kidreader.ru/author/2200\">Виктора Драгунского</a> (издательство «АСТ») постоянно что-то случается, даже бытовые ситуации могут запросто превратиться в захватывающее приключение и веселую (но в то же время поучительную) историю. Оказывается, обыкновенная манная каша может убедить ребенка в том, что все тайное всегда становится явным. В книгу вошли рассказы о Дениске-дошкольнике и Дениске-школьнике. Для этого издания использовались цветные иллюстрации <a href=\"http://kidreader.ru/author/1573\">Вениамина Лосина</a>, причем впервые были собраны именно лучшие иллюстрации художника.\n<img src=\"/sites/default/files/denis_clever.jpg\" width=\"190\" height=\"290\" />\nМузыку, между прочим, можно не только слушать в плеере, но и читать, ведь книга Нины Дашевской «<a href=\"http://kidreader.ru/book/3086\">Около музыки</a>» (издательство «Росмэн) наполнена ей до краев. Здесь музыка — в центре внимания, во всем вокруг, герои всех рассказов живут ей, дышат, тонко ее чувствуют, она занимает все их время, меняет их жизнь к лучшему, помогает обрести настоящую любовь и дружбу. Этот сборник «музыкальных» рассказов будет близок не только тем, кто нашел в музыке свое призвание, но и всем, кто к ней неравнодушен.\n<img src=\"/sites/default/files/okolo_0.jpg\" width=\"190\" height=\"290\" />\nСерьезную подростковую литературу тоже нельзя обойти стороной. «<a href=\"http://kidreader.ru/book/3100\">Пампа-блюз</a>» швейцарского писателя <a href=\"http://kidreader.ru/author/3099\">Рольфа Лапперта</a> (издательство «Самокат») рассказывает подросткам о сложных вещах без прикрас, затрагивает тему старости и смерти, говорит о настоящих жизненных ценностях и в то же время — о человеческой жестокости. Эта книга не умалчивает о проблемах, с которыми сталкивается большинство подростков, здесь все искренне, и при этом — захватывающе, интригующе, интересно. Главный герой романа Бен живет в маленьком и неприметном Вингродене без родителей и ухаживает за больным и беспомощным дедушкой. Он мечтает уехать в Африку, чтобы построить свою жизнь иначе, но у судьбы другие планы на его счет.\n<img src=\"/sites/default/files/pampa.jpg\" width=\"190\" height=\"238\" />\nСовременные авторы могут даже детскую сказку о мальчике-с-пальчике превратить в реалистичную, интригующую и завораживающую философскую историю-путешествие для подростков. «<a href=\"http://www.labirint.ru/books/467545/?p=4837\">Дитя Океан</a>» (издательство «Белая ворона») рассказывает о том, как немой, но необыкновенно талантливый мальчик Ян Дутрело и шестеро его старших братьев сбегают от жестоких родителей, чтобы добраться до океана и тем самым воплотить в жизнь мечту Яна. Во время путешествия их ждут опасности, испытания, встречи с множеством людей… Но цель того стоит!\n<img src=\"/sites/default/files/ZhanKlod_Murleva__Ditya_Okean.jpg\" width=\"190\" height=\"292\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:3bd4b6deefd4a7fc8d25443f46a2e276' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '«<a href=\"http://www.labirint.ru/books/476896/?p=4837\">Зеленая книга весны</a>» (издательство «Карьера пресс») отвечает на множество детских вопросов об этом времени года: что такое день весеннего равноденствия, почему весной идет снег с дождем, какие изменения происходят в природе. Приятными бонусами будут весенние песенки и считалочки и, конечно, рецепт весеннего блюда, которое можно приготовить вместе с родителями, а иллюстрации Эрве ле Гоффа позволят дошкольникам рассмотреть и наглядно изучить особенности природы весной.\n<img src=\"/sites/default/files/zelenaya_cover.jpg\" width=\"190\" height=\"253\" />\n«<a href=\"http://kidreader.ru/book/2987\">Весенняя история</a>» про Ежевичную поляну, написанная и нарисованная Джилл Барклем, впервые вышла в России (издательство «Эксмо»), а в Англии книга уже давно завоевала любовь детей и родителей. С наступлением весны все оживает, а дружным мышиным семействам, проживающим на Ежевичной поляне, только и нужен был повод, чтобы устроить настоящее веселье. Все мыши радостно отмечают день рождения мышонка Уилфрида и устраивают грандиозный масштабный пир в честь прихода весны.\n<img src=\"/sites/default/files/vesennyaya%20istoria_cover.jpg\" width=\"190\" height=\"245\" />\n«<a href=\"http://www.labirint.ru/books/268908/?p=4837\">Весенняя книга</a>» Ротраут Сузанны Бернер, как и остальные ее «сезонные» книги, (издательство «Самокат») практически не содержит текста и предназначена в основном для детального разглядывания, игр и развития детской речи. Весной Городок оживает, его жители начинают засаживать огороды и организовывать походы, да и природа расцветает буквально на глазах!\n<img src=\"/sites/default/files/vesen_kniga.jpg\" width=\"190\" height=\"251\" />\nСолнечные и радостные «<a href=\"http://www.labirint.ru/books/451695/?p=4837\">Весенние сказки</a>» (издательство «КомпасГид»), написанные Мариной Аромштам, наполнены меткими наблюдениями за весенней природой, которые доносятся до детей в сказочной форме. Оказывается, когда верба надела варежки, мороз сразу сдался и отступил, дал весне дорогу, а золотистый репейник первым из цветов встречает Весну, потому что проявил наибольшую смелость. Нежные акварельные иллюстрации Марии Овчинниковой создают весеннее настроение на каждой странице книги.\n<img src=\"/sites/default/files/Vesennie%20skazki_cover-350x350.JPG\" width=\"190\" height=\"210\" />\nКак же встречать весну без стихотворений? «<a href=\"http://www.labirint.ru/books/360666/?p=4837\">По опушке шла весна</a>» (издательство «Адонис») — это сборник коротеньких весенних стихов, которые будут понятны даже самым маленьким детям. Простые по ритму и рифме стихи рассказывают о том, как падает звонкая капель, как медведь вылезает из берлоги, как расцветает одуванчик, как птицы вьют свои гнезда…\n<img src=\"/sites/default/files/shla_vesna.jpg\" width=\"190\" height=\"222\" />\nЕще один сборник весенних стихотворений так и называется — «<a href=\"http://www.ozon.ru/context/detail/id/5947453/?partner=kidreader\">Весенние стихи</a>» (издательство «Мозаика-Синтез»). В книгу вошли лучшие стихотворения о весенней природе, написанные классиками русской литературы: «Весенняя гроза» Тютчева, «Весенний дождь» Фета, «Жаворонок» Жуковского, «Черемуха» Есенина и многие другие. Мягкие и нежные акварели художника Владимира Белоусова отражают красоту русской природы весной и подчеркивают красоту стихотворений.\n<img src=\"/sites/default/files/vesen_stihi.jpg\" width=\"190\" height=\"193\" />\nИзвестный писатель-натуралист Николай Сладков как никто другой способен рассказать малышам о сезонных изменениях и поделиться меткими наблюдениями за природой. Его «<a href=\"http://www.labirint.ru/books/270096/?p=4837\">Весенние радости</a>» (издательство «Амфора») — это коротенькие рассказы о том, что происходит в лесу и в поле в каждый из трех весенних месяцев.\n<img src=\"/sites/default/files/radosti.jpg\" width=\"190\" height=\"263\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:13c93f234ad6850b9bf48ac5516f067a' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Когда тебе пять лет, то кажется, что ты умеешь все! Ну или почти все. Так думает и Лотта из книги Астрид Линдгрен «<a href=\"http://kidreader.ru/book/2983\">Про Лотту с Горластой улицы</a>» (издательство «Махаон»), и у нее есть на то все основания. Еще бы, ведь она мастерски умеет свистеть, кататься на двухколесном велосипеде, помогать взрослым и много чего еще. Особенно хорошо у нее это получается, когда старший брат Юнас и сестра Миа-Мария ее не видят. Озорные цветные иллюстрации к «Лотте…» нарисовала известная шведская художница <a href=\"http://kidreader.ru/author/2977\">Илон Викланд</a>. Ее легкие иллюстрации создают на каждой странице книги атмосферу беспечности и беззаботности детства.\n<img src=\"/sites/default/files/Lotta_cover1_0.jpg\" width=\"190\" height=\"246\" />\n<a href=\"http://www.labirint.ru/books/428502/?p=4837\">Поллианна</a> — главная героиня одноименной книги Элинор Портер (издательство «Эксмо») — неизменно трогает и вдохновляет девочек своим жизнелюбием. Отец-священник научил дочку необыкновенной игре в радость, и Поллианна, даже оставшись сиротой, продолжила играть в эту игру со всеми, кто ее окружал, тем самым изменив жизнь многих людей к лучшему.\n<img src=\"/sites/default/files/pollianna.jpg\" width=\"190\" height=\"299\" />\nКниги Лидии Чарской не теряют своей популярности, они воспитывают в девочках терпение и силу характера вне зависимости от времени, вызывают чувство сострадания. «<a href=\"http://www.labirint.ru/books/463052/?p=4837\">Записки маленькой гимназистки</a>» (издательство «Энас-книга») — одно из лучших произведений писательницы, в котором Леночка, оставшись сиротой, сталкивается с неприязнью окружающих, грубым отношением родственников и другими трудностями, но не отчаивается и в итоге находит настоящую дружбу и необходимую ей поддержку.\n<img src=\"/sites/default/files/zapiski.jpg\" width=\"190\" height=\"268\" />\nВ повести «<a href=\"http://kidreader.ru/book/3066\">Оля</a>» Федора Кнорре (издательство «Речь) тоже можно встретить сильную и смелую героиню, на долю которой выпали нешуточные испытания. В разгар зимы Оля с мамой переезжает в чужой город, в котором все надо начинать сначала; девочке предстоит найти новых друзей, наладить непростые отношения с отцом и узнать, что такое война.\n<img src=\"/sites/default/files/Knorre_Olya_obl.jpg\" width=\"190\" height=\"263\" />\nВ нашей подборке книг нашлось место и фантастической повести, которая наверняка знакома многим сегодняшним мамам. «<a href=\"http://www.labirint.ru/books/437326/?p=4837\">Девочка с Земли</a>» писателя-фантаста Кира Булычева (Издательский Дом Мещерякова) рассказывает о том, как начинались приключения и космические путешествия Алисы Селезневой. Отважная героиня побеждает коварных космических пиратов, отправляется на поиски внеземных животных и даже спасает планету от гибели. Какая девчонка не мечтает о том же самом?\n<img src=\"/sites/default/files/devochka_s.jpg\" width=\"190\" height=\"257\" />\nНовая уютная сказка Анны Никольской «<a href=\"http://kidreader.ru/book/2900\">Блошкинс и Фрю из Бухты-Барахты</a>» (издательство «Клевер») несет в себе заряд нежности и тепла, поэтому идеально вписывается в атмосферу Международного женского дня. Старик Блошкинс, обитатель бухты Барахты, давным-давно живет в полном одиночестве, сам себе придумывая занятия, но его это не пугает, ведь непрошенные гости не вызывают у Блошкинса ничего, кроме раздражения. Конечно, все меняется, когда на пороге его дома оказывается Фрю — маленькое белое и пушистое создание, которое заставит старика пробудиться и изменит его отношение к окружающему миру.\n<img src=\"/sites/default/files/Bloshkins_cover_SMALL_COVER.jpg\" width=\"190\" height=\"249\" />\nЕще одна книга Анны Никольской, которая как нельзя лучше подходит для девочек, — «<a href=\"http://kidreader.ru/book/2340\">Маленькие по-беды принцессы Алисы</a>» (издательство «Речь»). Алиса Ромашкина — самая настоящая принцесса с невидимой короной. И папа с мамой у нее  — это король с королевой, вот только все равно почему-то ходят на работу. Папа — на завод, мама — в парикмахерскую. Родители никак не хотят замечать, что дочка у них — принцесса, поэтому приходится Алисе ходить в детский сад и музыкальную школу и заниматься совершенно обыденными делами. Девочке предстоит преодолеть свою стеснительность, отогнать от себя скуку и чувство зависти и побороть страх темноты.\n<img src=\"/sites/default/files/alisa_cover_0.jpg\" width=\"190\" height=\"250\" />\nНе у всех девочек семья состоит только из мамы с папой. Тем детям, у кого в круг семьи входят еще и сводные братья, сестры, бывший муж мамы и бывшая жена папы, будет очень близка и понятна книга венгерской писательницы <a href=\"http://kidreader.ru/author/2971\">Норы Майорош</a> «<a href=\"http://kidreader.ru/book/2972\">Семья 3x1</a>» (издательство «КомпасГид»). Бруни — главная героиня книги — чувствует себя во всех этих сложных взрослых взаимоотношениях на своем месте, и с юмором рассказывает о том, каково это — быть членом такой большой и необычной семьи. Несмотря на легкий и ироничный стиль повести, она затрагивает серьезные проблемы, с которыми сталкиваются многие семьи. Повествование дополняют небольшие черно-белые рисунки художницы <a href=\"http://kidreader.ru/author/2132\">Александры Ивойловой</a>.\n<img src=\"/sites/default/files/Semya3x1_cover_0.jpg\" width=\"190\" height=\"271\" />\n«<a href=\"http://kidreader.ru/book/3022\">Эволюция Кэлпурнии Тейт</a>» (издательство «Самокат») — это увлекательная современная повесть <a href=\"http://kidreader.ru/author/3021\">Жаклин Келли</a>, которая погружает читателей в атмосферу рубежа XIX и XX веков и заставляет девочек увидеть мир глазами главной героини и прочувствовать его, проникнуться им. Одиннадцатилетняя Кэлпурния Тейт, или просто Кэлли Ви, живет в Техасе, и ей бесконечно далека мысль о том, что она когда-нибудь выйдет замуж и станет вести домашнее хозяйство. Вместо этого Кэлли хочет стать заправским натуралистом и заниматься исследованиями, как ее дедушка. Героиня даже делает первые шаги в этом направлении: дрессирует червей, ведет дневник научных наблюдений и, конечно, задается правильными вопросами: «Зачем собакам брови?», «Почему желтые кузнечики гораздо крупнее зеленых?» и «Зачем измерять температуру на солнце, если гораздо полезнее знать температуру в тени?».\n<img src=\"/sites/default/files/kilpurnia_0.jpg\" width=\"190\" height=\"290\" />\n«<a href=\"http://kidreader.ru/book/2667\">Момо</a>» Михаэля Энде  (издательство «Махаон») — еще одна замечательная книга, в которой сильная и харизматичная девочка находится в центре внимания автора и покоряет читательниц. Малышка Момо поселилась в маленьком городке и стала жить совершенно одна. Никто из жителей ничего не знал про девочку: не было известно, кто она и откуда, но почему-то она буквально притягивала к себе людей. Те, кто приходили к ней, получали то, что им было необходимо: застенчивые обретали уверенность, а робкие — смелость. Но однажды Момо заметила, что люди стали более приземленными в своих стремлениях, и поняла, что за этим стоят похитители времени — Серые Господа. Девочке предстоит самой одолеть их и помочь людям открыть глаза на происходящее вокруг.\n<img src=\"/sites/default/files/Momo%20CVR.jpg\" width=\"190\" height=\"290\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:6910eb594f61ac0c94272db69fd33400' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Русская народная сказка «<a href=\"http://kidreader.ru/book/2974\">Сивка-бурка</a>» (издательство «Рипол-классик») не теряет своего очарования и по-прежнему вызывает восторг у маленьких читателей, а выражение «Сивка-бурка, вещий каурка! Стань передо мной, как лист перед травой» хорошо помнят мамы и папы, бабушки и дедушки, даже песня такая есть. В сочетании с иллюстрациями известного российского художника Бориса Диодорова эта сказка впервые вышла в России. <a href=\"http://kidreader.ru/author/32\">Борис Диодоров</a> не только создал запоминающиеся образы героев, но и уделил внимание деталям, поэтому каждую иллюстрацию можно рассматривать долго и с наслаждением — все они очень динамичные, легкие, наполненные русским национальным колоритом.\n<img src=\"/sites/default/files/sivka_burka_cover.jpg\" width=\"190\" height=\"270\" />\nСказка «<a href=\"http://www.labirint.ru/books/439078/?p=4837\">Гуси-лебеди</a>» (издательство «Речь») — наглядный пример того, что бывает, когда дети не слушаются родителей. Гуси-лебеди унесли братца героини, и ей предстоит спасти его от Бабы-яги, а на помощь девочке придут печка, яблоня и молочная река в кисельных берегах. Волшебные, насыщенные цветом и эмоциями акварельные иллюстрации к сказке создала Нина Носкович.\n<img src=\"/sites/default/files/gusi_cover.jpg\" width=\"190\" height=\"247\" />\nВ книгу «<a href=\"http://www.labirint.ru/books/158894/?p=4837\">Болтали две сороки</a>» (издательство «Детгиз») вошли не только русские народные сказки («Репка», «Волк и семеро козлят», «Колобок», «Три медведя»), но и песенки, а также потешки, поэтому сборник идеально подойдет даже для чтения самым маленьким детям. Прекрасно гармонируют с текстом хорошо известные сегодняшним родителям иллюстрации Юрия Васнецова.\n<img src=\"/sites/default/files/2soroki.jpg\" width=\"190\" height=\"255\" />\nВолшебная сказка «<a href=\"http://www.labirint.ru/books/399212/?p=4837\">Царевна-лягушка</a>» (Издательский дом Мещерякова) с хорошо узнаваемыми иллюстрациями Ивана Билибина считается классикой отечественной литературы. Самобытные иллюстрации художника не просто привлекают внимание, они насыщены деталями, в которых Билибин смог передать реалистичный образ древней Руси, и гармонично сочетают эти реалистичные детали со сказочной атмосферой.\n<img src=\"/sites/default/files/carevna-lyagushka.jpg\" width=\"190\" height=\"258\" />\nЕще одна «<a href=\"http://www.labirint.ru/books/321784/?p=4837\">Царевна-лягушка</a>» вышла в издательстве «Нигма», на этот раз — с иллюстрациями Татьяны Мавриной. На каждой странице книги Татьяна Маврина создала свой красочный, яркий и неповторимый сказочный мир, который, без сомнения, способен впечатлить и увлечь любого ребенка.\n<img src=\"/sites/default/files/tsarevna-lyagushka_nigma.jpg\" width=\"190\" height=\"233\" />\n«<a href=\"http://www.labirint.ru/books/347508/?p=4837\">Сказки Жар-птицы</a>» (издательство «Рипол-классик) на самом деле представлены только одной русской волшебной сказкой — «Иван-царевич и Серый волк», в которой Серый волк помогает непутевому Ивану-царевичу и наказ отца выполнить, и тяжелые испытания пройти, и жениться на Елене Прекрасной. Подлинным украшением издания являются цветные иллюстрации непревзойденного художника Геннадия Спирина. Оригинальность иллюстраций проявляется не только в сюжетных рисунках, но и в орнаментах, которые обрамляют текст.\n<img src=\"/sites/default/files/zhar_ptica.jpg\" width=\"190\" height=\"251\" />\nРусская народная сказка «<a href=\"http://www.labirint.ru/books/353870/?p=4837\">Лиса и волк</a>» (издательство «Мелик-Пашаев»), в которой «битый небитого везет», любима многими родителями и по сей день подает детям вдохновляющий пример проявления смекалки и находчивости. Реалистичные и очень живые иллюстрации Николая Устинова прекрасно дополняют текст сказки, а также великолепно передают характеры героев и (что не менее ценно!) особенности русского быта.\n<img src=\"/sites/default/files/cover_Lisa_i_Wolk_-new.jpg\" width=\"190\" height=\"249\" />\nЛентяй Емеля, который готов не вставать с печи без особой надобности, знаком, наверняка, всем и каждому, как и его волшебное заклинание: «По щучьему велению, по моему хотению…». Издательский дом Мещерякова выпустил одну из любимейших нами русских народных сказок «<a href=\"http://www.labirint.ru/books/440469/?p=4837\">По щучьему велению</a>» с многочисленными цветными иллюстрациями Рафаила Вольского, которые передают национальный колорит и создают особый настрой на каждой странице.\n<img src=\"/sites/default/files/Volskiy-Schuka_COVER-300x300.jpg\" width=\"190\" height=\"253\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:4c35889d84fc64e529b67a3f7f93e8ac' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Озорным, веселым, непослушным и непоседливым мальчишкам, которым буквально на месте не сидится, будут близки истории про малыша Николя. Например, книга «<a href=\"http://kidreader.ru/book/3012\">Малыш Николя путешествует</a>» (издательство «Махаон»), в которой простые житейские ситуации, происходящие с завидным постоянством в любой семье, обыгрываются автором <a href=\"http://kidreader.ru/author/2612\">Рене Госинни</a> с искрометным юмором, понятным не только детям, но и их родителям.\n<img src=\"/sites/default/files/Malish_Nikolya_puteshestvuet_0.jpg\" width=\"190\" height=\"293\" />\nВнутри каждого папы живет маленький мальчик, и книга «<a href=\"http://www.labirint.ru/books/460866/?p=4837\">Мой папа — мальчик</a>» (издательство «Клевер») прекрасно обыгрывает эту общеизвестную истину, да еще и с юмором. Когда мальчику Мише исполняется одиннадцать, его папа Борис Сергеевич решает поиграть с ним в дворовые игры своего детства, и вдруг от одной старой считалочки превращается в ровесника своего сына. Конечно, теперь они лучше друг друга понимают, но все же папе нужно снова стать взрослым… Добрая и трогательная история о взаимоотношениях отца и сына придется как нельзя кстати в праздничный мужской день.\n<img src=\"/sites/default/files/papa.jpg\" width=\"190\" height=\"266\" />\nРазве дом на дереве — это не предел мечтаний любого мальчишки? Герои «<a href=\"http://kidreader.ru/book/3004\">26-этажного дома на дереве</a>» (издательство «Livebook») — Энди и Терри — пристроили к своему дому, который можно назвать мечтой любого ребенка, еще 13 этажей, ведь как иначе им было обзавестись настоящим Лабиринтом Судьбы, ареной для борьбы в грязи, автодромом с электрическими машинами и, конечно, капсулами невесомости? И хотя изобретения Энди и Терри в новой книге абсолютно новые, проблемы у них остались старые. А точнее даже — одна проблема. Через неделю героям надо сдать книгу издателю, иначе Огромный Нос… страшно представить, что он с ними сделает! Искрометный юмор, простой текст и фантастические изобретения героев делают это произведение интересным даже для тех мальчишек, которые не очень-то любят читать.\n<img src=\"/sites/default/files/26dom_0.jpg\" width=\"190\" height=\"270\" />\nЧитая повести Крапивина, начинаешь понимать, как именно должны дружить мальчишки. И повесть «<a href=\"http://kidreader.ru/book/2897\">Та сторона, где ветер</a>» (Издательский Дом Мещерякова) — один из ярких тому примеров. Разозленный Генка хочет проучить нахального мальчугана, но вдруг обнаруживает, что он слепой, и с этого момента между Генкой и незрячим Владиком зарождается преданная, самая настоящая дружба. Какие бы испытания не встречались героям на пути, они проявляют свои лучшие качества: взаимовыручку, смелость, честность, прямоту — и подают пример подрастающему поколению.\n<img src=\"/sites/default/files/Ta-storona-gde-veter_cover.jpg\" width=\"190\" height=\"290\" />\nДень защитника Отечества — праздник, в который нельзя обойти стороной военную тему. Книга Юрия Германа «<a href=\"http://www.labirint.ru/books/467379/?p=4837\">Вот как это было</a>» (издательство «Речь») рассказывает о блокадных днях без ужасных, раздирающих душу сцен и кровавых подробностей — так, чтобы было понятно мальчишкам, даже дошкольного возраста. Это трогательная, вдохновляющая повесть о детях, которые в военное время нашли в себе силы на геройские поступки.\n<img src=\"/sites/default/files/kak%20eto%20bilo.jpg\" width=\"190\" height=\"266\" />\nТакже издательство «Речь» возродило и еще одну замечательную детскую книгу о войне — «<a href=\"http://www.labirint.ru/books/471240/?p=4837\">Мальчишки в сорок первом</a>» Виктора Дубровина. Эта пронзительная повесть не только познакомит мальчиков с нашей историей, но и заставит сопереживать героям. А как иначе, ведь тема затронута так глубоко, здесь все правдиво и предельно реалистично.\n<img src=\"/sites/default/files/v41.jpg\" width=\"190\" height=\"270\" />\nСудьбы героев повести «<a href=\"http://www.labirint.ru/books/468420/?p=4837\">Республика ШКИД</a>» (издательство «Клевер») — наглядный пример того, что все трудности преодолимы, и этот пример способен вдохновить даже самых непоседливых и непослушных мальчишек. Беспризорники Янкель, Цыган, Япошка, Мамочка, Купец и Воробей были отправлены в Школу имени Достоевского (ШКИД), где им суждено было, несмотря на всевозможные препятствия, воспитать в себе лучшие качества и найти свое призвание. Фотографии, плакаты, цитаты из песен и стихов 1920-х годов, которые помещены на восьми вклейках, отражают дух того времени и позволят мальчишкам погрузиться в атмосферу прошлого и лучше понять произведение.\n<img src=\"/sites/default/files/shkid.jpg\" />\nКакой мальчишка не любит приключений? Таких, чтобы и тайны, и призраки, и убийства, и постоянная интрига, которая держит тебя в напряжении буквально до последней страницы, и чтобы все это — в одном произведении! «<a href=\"http://www.labirint.ru/books/460871/?p=4837\">Всадник без головы</a>» (издательство «Нигма») считается одним из лучших произведений приключенческого жанра, которое не потеряло своей увлекательности для нового поколения читателей.\n<img src=\"/sites/default/files/bez_golovi.jpg\" />\nКнига <a href=\"http://kidreader.ru/author/2659\">Гэри Шмидта</a> «<a href=\"http://kidreader.ru/book/2952\">Пока нормально</a>» (издательство «Розовый жираф») ориентирована преимущественно на мальчишек постарше, она с юмором рассказывает о серьезных вещах, о настоящих проблемах. Здесь и войны, и общественные протесты, и трудные подростки, и домашнее насилие. И все же повесть не лишена светлых, жизнеутверждающих моментов, которые подтверждают: искусство, любовь и дружба способны творить настоящие чудеса. Шмидт изображает обыкновенную американскую семью конца 60-х годов, которая переезжает в ничем не примечательный городок Мэрисвилл. Восьмикласснику Дугу Свитеку предстоит не только освоиться в чужом для него городе, но и найти себя, а помогут ему в этом гравюры американского художника Одюбона, настоящая дружба и любовь к необыкновенной девушке.\n<img src=\"/sites/default/files/poka_normalno_cover_0.jpg\" width=\"190\" height=\"269\" />\nИ еще одна увлекательная книга для мальчишек-подростков. «<a href=\"http://kidreader.ru/book/3007\">Мальчик, который плавал с пираньями</a>» (издательство «Самокат») — это остроумная, немного волшебная, легкая и ироничная повесть известного британского писателя <a href=\"http://kidreader.ru/author/3006\">Дэвида Алмонда</a>. Опасные приключения и неожиданные сюжетные повороты придают истории особую привлекательность. Речь в книге идет о необыкновенном мальчике Стене Эрунде, который задействован в качестве «рабочих» рук на рыбном заводе своего дяди ежедневно с шести утра и может даже не ходить в школу, вот только это ему совсем не нравится. Когда мальчик убегает из дома, рыбы буквально преследуют его… сначала на ярмарочном аттракционе Достоевски, а потом в виде аквариума с пираньями, куда Стен готов нырнуть вместо известного трюкача Панчо Пирелли!\n<img src=\"/sites/default/files/piranii_cover_0.jpg\" width=\"190\" height=\"277\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:ad522deb76ae9fb3f174b20648f9b718' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Иногда для того, чтобы запустить процесс творчества, ребенку нужны хорошие идеи, которые подскажут, в каком направлении стоит творить. «<a href=\"http://kidreader.ru/book/2911\">Художественная мастерская для малышей</a>» (издательство «Питер») — это 52 небольших урока по различным творческим направлениям, в числе которых — рисование льдом, рисование на ткани, рисование тушью, оп-арт, создание коллажей, бумажных ваз и многое другое. Каждый урок сопровождается цветными фотографиями, которые помогут ребенку получить более ясное представление о последовательности действий. В каждом уроке по техникам рисования есть и приятное дополнение для маленьких эрудитов: произведение известного художника, работающего в этой технике.\n<img src=\"/sites/default/files/masteskaya_cover.jpg\" width=\"190\" height=\"191\" />\nОзорная книга Александра Голубева «<a href=\"http://www.labirint.ru/books/378992/?p=4837\">Прятки-загадки</a>» (издательство «Речь») включает в себя не только картинки для раскрашивания, благодаря которым дети могут проявить свои художественные способности. В эту веселую «рисовалку» также вошло множество заданий, развивающих внимательность и творческое воображение у детей.\n<img src=\"/sites/default/files/pryatki.jpg\" width=\"190\" height=\"257\" />\nПластилин — подходящий материал для детского творчества, а настоящий профи в сфере пластилиновых шедевров Марья Новацкая доступно расскажет и покажет детям, как слепить любого сказочного героя. «<a href=\"http://www.labirint.ru/books/457699/?p=4837\">Большая пластилиновая книга. Как слепить любую сказку</a>» (издательство «Питер») — это пособие, которое научит детей переносить образы любимых героев в реальный мир при помощи пластилина, причем автор дает подробные пошаговые инструкции. Баба-яга, драконы, непобедимые богатыри и другие герои русских сказок буквально оживают на глазах, а при желании ребенок может подключить фантазию, придумать своего героя и слепить его, вооружившись полученными знаниями.\n<img src=\"/sites/default/files/plastilin.jpg\" width=\"190\" height=\"235\" />\nИзвестный американский иллюстратор Эд Эмберли прославился не только своими рисунками, но и своими пошаговыми инструкциями, которые помогают детям во всем мире развивать способности к рисованию и воплощать свои задумки на бумаге. В книге «<a href=\"http://www.labirint.ru/books/466415/?p=4837\">Мир вокруг. Рисуем по шагам</a>» (издательство «Манн, Иванов и Фербер») поэтапно разобрано рисование зданий, транспорта, мебели, растений, животных и людей, а также то, как можно комбинировать нарисованные предметы, чтобы получилась полноценная картина с деталями и сюжетом.\n<img src=\"/sites/default/files/mir-vokrug-big.png\" width=\"190\" height=\"278\" />\nНекоторым детям в силу возраста рисовать с помощью кисти и красок сложновато, а вот использовать для рисования собственные пальцы — в самый раз! Тем более, что такое рисование развивает не только мелкую моторику рук, но и детскую фантазию. Книга «<a href=\"http://www.labirint.ru/books/417033/?p=4837\">Рисуем пальчиками</a>» (издательство «Махаон») рассматривает всевозможные способы рисования ладошками и пальцами. Оказывается, этими способами можно нарисовать не только причудливые узоры, но и птиц, зверей и даже сказочных существ!\n<img src=\"/sites/default/files/978-5-389-05492-9.jpg\" width=\"168\" height=\"235\" />\nЕще одна книга, которая развивает детские способности к рисованию — «<a href=\"http://www.labirint.ru/books/391314/?p=4837\">Большая калякалка</a>» (издательство «Клевер»). «Калякалка…» предполагает, что дети будут не только рисовать и раскрашивать, но и дорисовывать, чтобы таким образом задействовать свое воображение. Дорисовывая прожилки листьям, клювы пингвинам и шерсть овечкам, придумывая красивые узоры для воздушного шара и смешные рожицы для тыквы, дети дают выход своей безграничной фантазии.\n<img src=\"/sites/default/files/kalyakalka.jpg\" width=\"190\" height=\"241\" />\nОригинальные веселые и позитивные рисунки Татьяны Задорожней любят взрослые и дети. А теперь и малыши, и их родители получили возможность научиться рисовать целые сюжетные истории в той технике, которую использует Задорожняя. Из книги «<a href=\"http://www.labirint.ru/books/395393/?p=4837\">Как нарисовать любую историю</a>» (издательство «Питер») дети узнают, как можно легко изобразить эмоцию на лице персонажа, как несколькими штрихами придать ему индивидуальность, как придумать собственную забавную сказку и, конечно же, нарисовать ее.\n<img src=\"/sites/default/files/Tatyana_Zadorozhnyaya__Kak_narisovat_lyubuyu_istoriyu.jpg\" width=\"190\" height=\"245\" />\nБезусловно, детское творчество не ограничивается одним только рисованием. Создавая поделки разного уровня сложности, дети также реализуют свой творческий потенциал. «<a href=\"http://www.labirint.ru/books/451690/?p=4837\">История книги своими руками. Продолжение</a>» (издательство «КомпасГид) научит школьников, как можно собственноручно сделать книгу в переплете, составить календарь и приготовить краски из овощей.\n<img src=\"/sites/default/files/istoria_knigi2_cover-350x350.jpg\" width=\"190\" height=\"144\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:0ec9e4096d46d1da3fbba4bd76ee3f36' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Большой Медведь из книги «<a href=\"http://kidreader.ru/book/2920\">Почему ты не спишь?</a>» (издательство «Поляндрия) никак не мог уговорить Медвежонка заснуть. И чего он только не предпринимал — все безрезультатно, ведь Медвежонок очень боится темноты. Но Большой Медведь настолько изобретателен, что находит действенный способ... Книга <a href=\"http://kidreader.ru/author/2918\">Мартина Уодделла</a> — это добрая, лиричная, по-настоящему зимняя история о взаимоотношениях детей и родителей, которая сопровождается нежными акварельными иллюстрациями. Художница Барбара Ферт создала образы хрупкого ребенка и всемогущего родителя, не прибегая к избитым штампам.\n<img src=\"/sites/default/files/pochemu%20ne%20spish1_0.jpg\" width=\"190\" height=\"235\" />\n«<a href=\"http://www.labirint.ru/books/420166/?p=4837\">Чудный поезд мчится в сон</a>» (издательство «Карьера пресс») — это книжка-картинка, предназначенная специально для чтения детям на ночь. Она состоит из убаюкивающих стихов о паровозе сновидений и умиротворяющих, спокойных иллюстраций в приглушенных тонах, которые создал Том Лихтенхелд.\n<img src=\"/sites/default/files/chudniy%20poezd_cover_0.jpg\" width=\"190\" height=\"177\" />\nЕсли слезы и капризы ребенка перед сном стали скорее нормой, чем исключением, то специально подобранные «<a href=\"http://www.labirint.ru/books/320735/?p=4837\">Сонные сказки</a>» (издательство «Речь») смогут стать спасением для родителей, ведь в этом сборнике собраны не просто сказки, а медитативные истории — спокойные, уютные, волшебные, с подробными описаниями и плавным, умиротворяющим и убаюкивающим сюжетом. Кроме того, эти сказки несут поучительный подтекст — например, о том, как хорошо ребенку спать в своей постели!\n<img src=\"/sites/default/files/sonnie.jpg\" width=\"200\" height=\"147\" />\nЕсть и еще одна книга специальных сказок на ту же тему — сборник «<a href=\"http://www.labirint.ru/books/436139/?p=4837\">Сказки на ночь</a>» (издательство «Махаон»), в который вошли легкие и интересные сказки, напрямую или косвенно связанные со сном. Например, о том, как Винни ищет себе ночлег, или о том, что способно успокоить Винни, когда ему приснился кошмар.\n<img src=\"/sites/default/files/978-5-389-07378-4.jpg\" width=\"181\" height=\"235\" />\nИстория, изложенная в книге «<a href=\"http://www.labirint.ru/books/367950/?p=4837\">Лама красная пижама</a>» (издательство «Карьера пресс»), в жизни встречается настолько часто, что многие мамы узнают в ней себя и своих детей. Малыш Лама лежит в своей кроватке, мама пожелала ему спокойной ночи и ушла. И тут тревога крошки Ламы и все его страхи встают у него перед глазами и совершенно не дают заснуть, ему срочно нужна мама, Мама Лама! Но только мама занята делами и приходит к своему малышу далеко не сразу. Хотя, конечно, все заканчивается очень хорошо! Великолепные стихи в переводе Татьяны Духановой передают все оттенки чувств мамы и ребенка, а красочные иллюстрации Анны Дьюдни как нельзя лучше дополняют эту реалистичную историю.\n<img src=\"/sites/default/files/lama_krasnaja_pizhama_0.png\" width=\"190\" height=\"197\" />\nКстати, чтобы уложить ребенка спать, далеко не всегда нужно читать книги, напрямую затрагивающие тему сна. Иногда это могут быть просто спокойные истории с красивыми описаниями, счастливым концом и нежными иллюстрациями.\n<a href=\"http://kidreader.ru/book/2900\">«</a><a href=\"http://kidreader.ru/book/2900\">Блошкинс и Фрю из Бухты-Барахты</a>» (издательство «Клевер») — это уютная зимняя сказка со счастливым концом, написанная Анной Никольской. Старик Блошкинс, обитатель бухты Барахты, давным-давно живет в полном одиночестве, сам себе пишет письма и мечтает научиться летать, но все в его жизни меняется, когда нежданно-негаданно к нему в дом нагрянула Фрю — маленькое белое и пушистое создание. В этой сказке нет противостояния добра и зла, это трогательная и добрая история о вечных ценностях, которую сопровождают нежные, уютные и манящие иллюстрации Галины Зинько.\n<img src=\"/sites/default/files/Bloshkins_cover_SMALL_COVER_1_0.jpg\" width=\"190\" height=\"247\" />\nСказка американской писательницы <a href=\"http://kidreader.ru/author/2664\">Лилианы Муур</a> «<a href=\"http://kidreader.ru/book/2665\">Крошка Енот и тот, кто сидит в пруду</a>» (издательство «Мелик-Пашаев») рассказывает о маленьком, но очень храбром герое, который сначала невероятно боялся Того, кто сидит в пруду, а потом нашел к нему подход. Маленький подвиг Крошки Енота настраивает детей на спокойный лад. Эту незамысловатую, но трогательную историю сегодняшние родители хорошо помнят по своему детству, так же как и иллюстрации <a href=\"http://kidreader.ru/author/2518\">Владимира Сутеева</a>, которые дополняют повествование.\n<img src=\"/sites/default/files/enot_cover1_0_0.jpg\" width=\"190\" height=\"273\" />\nЛюбовь детей и родителей друг к другу, казалось бы, невозможно измерить. Но заяц из незамысловатой, но очень эмоциональной и доброй книги Сэма Макбратни «<a href=\"http://www.labirint.ru/books/365174/?p=4837\">Знаешь, как я тебя люблю?</a>» (издательство «Розовый жираф») нашел подходящую единицу измерения. Он сказал зайчонку: «Я тебя люблю до самой луны. До самой-самой луны… и обратно». Разве после прочтения такой милой и нежной истории возможно не заснуть?\n<img src=\"/sites/default/files/znayesh.jpg\" width=\"170\" height=\"196\" />\nP.S. А какие книги вы читаете на ночь своим детям?\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:3014b84e98d0c833a3e7b56ed26a88f6' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Стихи Даниила Хармса не нуждаются в представлении, их неизменно любят и взрослые, и дети.\n<img src=\"/sites/default/files/Daniil_Harms__Vse_begut_letyat_i_skachut.jpg\" width=\"153\" height=\"178\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВ его сборник «<a href=\"http://www.labirint.ru/books/264290/?p=4837\" style=\"font-size: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.4em;\">Все бегут, летят и скачут</a>» (издательство «Махаон») вошли забавные, веселые, ироничные, динамичные стихи с простым сюжетом, которые хорошо знакомы многим сегодняшним родителям. Художник Игорь Олейников настолько глубоко прочувствовал стихи Хармса, что его образные, живые иллюстрации создают с ними единое неделимое целое.\n<blockquote>— А вы знаете, что У? А вы знаете, что ПА? А вы знаете, что ПЫ? Что у папы моего Было сорок сыновей? Было сорок здоровенных — И не двадцать, И не тридцать, — Ровно сорок сыновей!\n</blockquote>\n<img src=\"/sites/default/files/pro1_cover_1.jpg\" width=\"141\" height=\"181\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nСборник стихов Эдуарда Шендеровича «<a href=\"http://kidreader.ru/book/2219\" style=\"font-size: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.4em;\">Про один, два, 3, 4 и 5</a>» (издательство «Самокат») — это веселые детские стихи с простой рифмой и четким ритмом, которые будут интересны и понятны даже самым маленьким детям и легко им запомнятся. Стихи Шендеровича отличаются особенной легкостью, бодростью, динамикой и капелькой абсурда.\n<img src=\"/sites/default/files/KTO%20YA%20cover%20small.jpg\" width=\"143\" height=\"180\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nСтихотворение <a href=\"http://kidreader.ru/author/2772\">Эдуарда Гильца</a> «<a href=\"http://kidreader.ru/book/2780\">Кто я?</a>» (издательство «Мелик-Пашаев») проникновенно рассказывает о том, как щенок ищет своего папу, мечтая о том, что он окажется благородным породистым псом, выполняющим значимую миссию. В этом добром и трогательном стихотворении любопытный и наивный щенок с надеждой обращается к догу, бассету, фокстерьеру, сенбернару, сеттеру, спаниелю и другим породистым собакам, проявляя недюжинное упорство, но каждый раз получает отрицательный ответ, и все же история заканчивается хорошо:\n<blockquote>Конечно, дворняги не носят медалей, Но важно ли это собаке? Едва ли. Ведь многое может простая дворняга. Есть ум у нее, и чутье, и отвага.\n</blockquote>\n<img src=\"/sites/default/files/kuvirkom_0.jpg\" width=\"164\" height=\"137\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nКнижка-картинка «<a href=\"http://kidreader.ru/book/2735\">Все кувырком</a>» (издательство «Лабиринт-пресс») — это три английские народные песенки в сочетании с лаконичными, оригинальными иллюстрациями <a href=\"http://kidreader.ru/author/2734\">Рэндольфа Кальдекотта</a>. Прекрасный поэтический перевод Григория Кружкова не просто отличается необычным ритмом и запоминающейся рифмой, но и оставляет простор для детского воображения:\n<blockquote>Петрушка, и кружка, и фунт ветчины! — О-хо — сказал мистер Кроули.\n</blockquote>\n<img src=\"/sites/default/files/gruffalo.jpg\" width=\"165\" height=\"194\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n«<a href=\"http://www.labirint.ru/books/92588/?p=4837\">Груффало</a>» Джулии Дональдсон (издательство «Машины творения») покорило детей во всем мире. Эта веселая и легкая сказка в стихах рассказывает о находчивом мышонке, который придумал страшного зверя Груффало, чтобы самому не стать обедом для лисы, совы и змеи. Вот только оказалось, что Груффало существует на самом деле и выглядит как раз так, как описывал его мышонок. Переводчику книги Марине Бородицкой удалось передать заразительный юмор истории и облечь его в простую и понятную рифму.\n<blockquote>Ножищи, как столбы… на них когтищи в ряд… И бородавка на носу, а в бородавке – яд! Глаза горят огнем, язык черней черники, В шипах лиловых вся спина, и вид ужасно дикий.\n</blockquote>\n<img src=\"/sites/default/files/dama_Amsterdam_cover.jpg\" width=\"141\" height=\"188\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nНовая книга Эдуарда Успенского — сборник стихов «<a href=\"http://kidreader.ru/book/2944\">Дама из Амстердама</a>» (издательство «Росмэн»), в который вошли поучительные, шутливые и даже по-настоящему серьезные стихотворения на проблемные темы, написанные с тонким юмором. На каждом развороте — красочные, ироничные и эмоциональные изображения героев небольших стихотворных историй в исполнении художника-мультипликатора Сергея Гаврилова.\nИ, конечно, куда же без классики детской литературы?\n<img src=\"/sites/default/files/telefon%20cover.jpg\" width=\"140\" height=\"183\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВеселое ритмичное стихотворение <a href=\"http://kidreader.ru/author/2693\">Корнея Чуковского</a> «<a href=\"http://kidreader.ru/book/2697\">Телефон</a>» (издательство «Мелик-Пашаев») хорошо знакомо мамам и папам, бабушкам и дедушкам, оно уже давно разошлось на цитаты. Кто не знает этих фрагментов: «И такая дребедень целый день: …То тюлень позвонит, то олень» и «Откуда? От верблюда»?\n<img src=\"/sites/default/files/obida.jpg\" width=\"137\" height=\"180\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nАгния Барто не боится затрагивать серьезные темы в детских стихотворениях. Ее «<a href=\"http://www.labirint.ru/books/466242/?p=4837\">Обида</a>» (издательство «Речь») — это небольшая, но поучительная история в стихах, которая рассказывает о том, как себя чувствует старший брат, когда в семье только-только появилась младшая сестренка и родители уделяют все внимание ей. К счастью, у этого мальчика очень мудрая мама, и она восстанавливает мир в семье.\n<blockquote>Тогда я лег лицом к стене, И ждал я нахлобучки. Вдруг мама бросилась ко мне: — Давай возьму на ручки!\n</blockquote>\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:5d9d9fe6b3678d9dda0815f9482ca215' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '<a href=\"ttp://kidreader.ru/book/2806\">«</a><a href=\"ttp://kidreader.ru/book/2806\">Красная книга зимы</a>» (издательство «Карьера пресс») отвечает на множество детских вопросов о зиме: «Как получается снег?», «Откуда берется лед?», «Почему опали листья?». Приятными бонусами будут веселые песенки-считалочки и зимний рецепт салата с апельсинами для совместного приготовления с родителями, а иллюстрации Эрве ле Гоффа позволят дошкольникам рассмотреть и наглядно изучить особенности природы зимой.\n<img src=\"/sites/default/files/winter.jpg\" width=\"190\" height=\"254\" />\n«<a href=\"http://www.labirint.ru/books/256577/?p=4837\">Зимняя книга</a>» Ротраут Сузанны Бернер (издательство «Самокат») предназначена в основном для детального разглядывания, игр и развития детской речи. В Городок приходит зима, и его жители радуются снегу, наблюдают за изменениями в природе, катаются на коньках, лепят снеговика… Жизнь в Городке течет и меняется, и в каждое время года дети могут отследить эти изменения, ведь сразу за «Зимней книгой» идет «Весенняя книга», а потом и «Летняя», и «Осенняя».\n<img src=\"/sites/default/files/zimnyaya_kniga.jpg\" width=\"190\" height=\"249\" />\nКнига блогера Ксении Дрызловой «<a href=\"http://www.labirint.ru/books/460615/?p=4837\">Замечательное время. Зима</a>» (издательство «Манн, Иванов и Фербер») не столько о зиме, сколько для зимы, а точнее — для интересного совместного времяпровождения детей и родителей зимой. Здесь собраны веселые зимние игры как для улицы, так и для дома, также автор поделилась советами и идеями о том, как украсить квартиру, упаковать подарки, внедрить необычные семейные традиции и провести настоящие зимние опыты. Эта книга не для спокойного чтения, в большей степени она мотивирует к действиям, которые приведут к еще большему сближению родителей и детей.\n<img src=\"/sites/default/files/Dryzlova_K._Sleptsova_A.__Zamechatelnoe_vremya_zima.jpg\" width=\"190\" height=\"283\" />\nКак известно, новое — это хорошо забытое старое. Простые и понятные малышам стихи Надежды Поляковой проверены временем, они учат наблюдать за явлениями природы и создают зимнее настроение. Книга «<a href=\"http://www.labirint.ru/books/466253/?p=4837\">Снежки</a>» (издательство «Речь») — это сборник стихов о зиме, о снеге, сосульках и зимних развлечениях. Светлые и лиричные иллюстрации Ольги Богаевской наполнены образами из советских времен.\n<img src=\"/sites/default/files/Polyakova_Snezhki.jpg\" width=\"190\" height=\"234\" />\nПедагог и писатель Марина Аромштам сочинила красивую зимнюю сказку — «<a href=\"http://www.labirint.ru/books/451694/?p=4837\">Сказку о маленькой Елочке</a>» (издательство «КомпасГид»). Она рассказывает о том, как Хозяин Леса решил наградить Елочку за ее желание радовать других и сделал ее Зимней Царицей — всем остальным деревьям на зависть. Сказочная зимняя история сопровождается трогательными иллюстрациями Марии Овчинниковой.\n<img src=\"/sites/default/files/Skazka%20o%20malenkoy%20yolochke_cover-350x350.JPG\" width=\"190\" height=\"212\" />\n«<a href=\"http://www.labirint.ru/books/468390/?p=4837\">Зимняя история</a>» про Ежевичную поляну, написанная и нарисованная Джилл Барклем, впервые вышла в России (издательство «Эксмо»), а в Англии книга уже давно завоевала любовь детей и родителей. Главные герои всех «сезонных» историй автора — маленькие и, безусловно, симпатичные мышки. Зимой мышатам предстоит впервые увидеть снег, побывать на настоящем Снежном балу и почувствовать на своей шкуре особенности этого времени года.\n<img src=\"/sites/default/files/bramblyhedge_winterstory_02.jpg\" width=\"200\" height=\"180\" />\nЗнаменитые на весь мир муми-тролли, придуманные Туве Янссон, по-своему хорошо проводят зиму — в это время они спят. И только Муми-тролль решил провести это время иначе и стать первым в мире муми-троллем, который не спал всю зиму. В книге «<a href=\"http://www.labirint.ru/books/317816/?p=4837\">Волшебная зима</a>» (издательство «Азбука») герою предстоит встретить Ледяную деву, пройти через множество опасностей и, конечно, как следует повеселиться! А маленькие читатели после прочтения книги убедятся, что зима может быть теплым и уютным временем года.\n<img src=\"/sites/default/files/volsheb_zima.jpg\" width=\"190\" height=\"248\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:e14ee814aa4edf4df9b6f1c4da7fe0dc' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'В издательстве «Карьера Пресс» вышла целая серия путеводителей, составленных и нарисованных Мирославом Шашеком еще в 1959 году и давно признанных непревзойденной мировой классикой. В серию вошли путеводители по трем городам: Лондону («<a href=\"http://careerpress.ru/book/eto-parizh/?p=4837\">Это Лондон</a>»), Парижу («<a href=\"http://careerpress.ru/book/eto-parizh/?p=4837\">Это Париж</a>») и Нью-Йорку («<a href=\"http://www.labirint.ru/books/444054/?p=4837\">Это Нью-Йорк</a>»). Все они представляют собой книжки-картинки, ориентированные на детей разного возраста — от не умеющих читать дошкольников до любопытных учащихся средней школы. Путеводители содержат минимальную текстовую информацию об основных достопримечательностях, по сути текст представляет собой краткий комментарий к узнаваемым изображениям этих достопримечательностей, на которых и сделан акцент. Рисунки Шашека — стильные, простые, очень понятные, но совершенно не примитивные, они отражают характерные черты каждого города и не утомляют излишними подробностями.\n<img src=\"/sites/default/files/collagekariera.jpg\" width=\"500\" height=\"165\" />\nВ издательстве «Эксмо» вышла серия путеводителей под известным брендом «Lonely Planet». Путеводители «Lonely Planet» очень популярны среди любителей самостоятельных путешествий в самые отдаленные уголки мира. Детская версия путеводителей выгодно отличается большим количеством удивительных историй о стране в целом или о конкретном городе. В числе достоинств путеводителей этой серии —  великолепный подбор фотоматериалов, забавные коллажи и иллюстрации, а также искрометный юмор, который понятен даже детям младшего возраста. Нужно сказать, что хотя на обложке и написано «не для родителей», взрослым эти путеводители будут также очень интересны и полезны. Неизбитые факты о культуре, истории, традициях того или иного города пробудят тягу к путешествиям у читателя любого возраста. Всего в серии вышло 10 книг: «<a href=\"http://www.labirint.ru/books/451603/?p=4837\">Нью-Йорк</a>», «<a href=\"http://www.labirint.ru/books/451604/?p=4837\">Париж</a>», «<a href=\"http://www.labirint.ru/books/451605/?p=4837\">Рим</a>», «<a href=\"http://www.labirint.ru/books/451602/?p=4837\">Лондон</a>», «<a href=\"http://www.labirint.ru/books/462205/?p=4837\">США</a>», «<a href=\"http://www.labirint.ru/books/462204/?p=4837\">Великая Британия</a>», «<a href=\"http://www.labirint.ru/books/451606/?p=4837\">Южная Америка</a>», «<a href=\"http://www.labirint.ru/books/451601/?p=4837\">Европа</a>», «<a href=\"http://www.labirint.ru/books/451600/?p=4837\">Африка</a>» и «<a href=\"http://www.labirint.ru/books/451599/?p=4837\">Азия</a>».\n<img src=\"/sites/default/files/lonely%20planet.jpg\" width=\"500\" height=\"165\" />\nТакже «заграничные» путеводители вышли в издательстве «Норвег». В серию «Маршруты Мудрого Гуся» включены путеводители по <a href=\"http://www.ozon.ru/context/detail/id/15844783/?partner=kidreader\">Англии</a>, <a href=\"http://www.ozon.ru/context/detail/id/15844769/?partner=kidreader\">Шотландии</a>, <a href=\"http://www.ozon.ru/context/detail/id/15844763/?partner=kidreader\">Лондону</a>, <a href=\"http://www.ozon.ru/context/detail/id/19677679/?partner=kidreader\">Праге</a> и <a href=\"http://www.ozon.ru/context/detail/id/30080634/?partner=kidreader\">Вене</a>. Путеводители предназначены не только для детей, но и для их родителей. Помимо того, что авторы составили уникальные маршруты по городам и странам, они еще и дополнили их развивающими играми и сказками для детей. Особенно ценно, что в каждой книге есть ценные советы от местных жителей.\n<img src=\"/sites/default/files/collageNorveg.jpg\" width=\"500\" height=\"125\" />\nИздательство «Фордевинд» выпустило серию «Иллюстрированный путеводитель для детей и родителей», в которую вошли пять детских путеводителей по городам России: «<a href=\"http://www.labirint.ru/books/287371/?p=4837\">Москва</a>», «<a href=\"http://www.labirint.ru/books/401156/?p=4837\">Золотое кольцо</a>», «<a href=\"http://www.labirint.ru/books/246740/?p=4837\">Петербург</a>», «<a href=\"http://www.labirint.ru/books/275846/?p=4837\">Окрестности Петербурга</a>» и «<a href=\"http://www.labirint.ru/books/364274/?p=4837\">От Пскова до Архангельска</a>». Все книги рассчитаны на семейное чтение. Особенность путеводителей в том, что они содержат не только увлекательный рассказ о достопримечательностях и иллюстрации к нему, но и судовой журнал, интерактивные игры, интересные факты. Серия стала лауреатом Всероссийского конкурса «Малая родина», а также победила в номинации «Увлекательное краеведение».\n<img src=\"/sites/default/files/collageFordewind.jpg\" width=\"500\" height=\"100\" />\nИздательство «Клевер» решило поближе познакомить маленьких читателей с двумя российскими столицами и выпустило раскраски-путеводители по <a href=\"http://www.labirint.ru/books/464819/?p=4837\">Москве</a> и <a href=\"http://www.labirint.ru/books/469173/?p=4837\">Санкт-Петербургу</a>. Теперь можно не только узнать о самых интересных местах в городе, но еще и раскрасить их самостоятельно. Для того, чтобы раскрашенная достопримечательность в итоге приобрела сходство с оригиналом, на каждой странице помещены подсказки о том, в какие цвета нужно раскрашивать ту или иную деталь.\n<img src=\"/sites/default/files/klever_moskva.jpg\" width=\"190\" height=\"277\" />\nК числу путеводителей можно условно отнести и некоторые особенные карты. Например, «<a href=\"http://kidreader.ru/book/1766\">Карты. Путешествие в картинках по континентам, морям и культурам</a>» Александры и Даниэля Мизелиньских (издательство «Самокат»). Эти «Карты» представляют 41 страну мира. При описании каждой страны авторы рассказывают не только о достопримечательностях, основных городах, представителях животного и растительного мира, но и об особенностях национальной культуры, истории, кухни, о выдающихся личностях, любимых видах спорта и многом другом.\n<img src=\"/sites/default/files/Mizielinscy_cover_0.jpg\" width=\"190\" height=\"290\" />\nТакже стоит отметить более узконаправленные карты — «<a href=\"http://kidreader.ru/book/2637\">Карты России</a>» Александра Голубева (издательство «Речь»). Автор собрал все самое интересное из истории, культуры, искусства, литературы, архитектуры, флоры и фауны нашей необъятной страны. Иллюстрированный атлас также содержит информацию о народных промыслах, национальных костюмах, географических особенностях, памятниках литературным героям и самых знаменитых людях всех уголков России.\n<img src=\"/sites/default/files/karti_cover_0.jpg\" width=\"190\" height=\"250\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098223, expire = 1758184623, headers = '', serialized = 0 WHERE cid = '2:60e4f9c63098715cce3359958c38ccf9' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'В 2014 году издательства порадовали детей и их родителей множеством прекрасных новинок, некоторые из них заслуживают особого внимания. Книги с лучшими иллюстрациями, с лучшим стихотворным текстом, книги на социально важные темы, лучшие книги по воспитанию… Были и другие критерии. Редакция сайта <a href=\"http://kidreader.ru\">KidReader</a> составила свой рейтинг изданий для детей, разделив их по рубрикам.\n<h1>Лучшая иллюстрированная книга</h1>\n<img src=\"/sites/default/files/Rusal_0.jpg\" width=\"141\" height=\"215\" style=\"float: left; margin: 5px 10px;\" />\n <a href=\"http://kidreader.ru/book/2264\">Русалочка</a> (Клевер)\n Грустную историю любви Русалочки, рассказанную <a href=\"http://kidreader.ru/author/31\">Г. Х. Андерсеном</a>, знают во всем мире.\n Издательство «Клевер» дало новую жизнь классическому произведению и выпустило его с новаторскими иллюстрациями молодого и уже широко известного художника Димы Ребуса.\n В его ярком, оригинальном исполнении Русалочка и Принц предстают перед читателями более современными и даже чем-то отдаленно напоминают звезд Голливуда.\n \n  Фантас<img src=\"/sites/default/files/flying_cover.jpg\" width=\"190\" height=\"137\" style=\"float: left; margin: 5px 10px;\" />тические <a href=\"http://kidreader.ru/book/2840\">летающие книги мистера Морриса Лессмора</a><a href=\"http://kidreader.ru/book/2840\"></a> (Поляндрия)\n Удивительная история, в которой книги — это живые существа, нуждающиеся во внимании и заботе,— как минимум необычна своим сюжетом. Но иллюстрации Уильяма Джойса и Джо Блюма создают на каждой странице атмосферу чуда, передают трогательность и эмоциональность истории.\n<h1> </h1>\n<h1>Лучшее переиздание</h1>\n<img src=\"/sites/default/files/Vereyskaya_Tri_devochki1_0.jpg\" width=\"159\" height=\"243\" style=\"float: left; margin: 5px 10px;\" /><a href=\"http://kidreader.ru/book/2835\">Три девочки. История одной квартиры</a> (Речь)\nПовесть Елены Верейской была впервые напечатана в 1948 году в Лениздате, а совсем недавно вышла в издательстве «Речь».\nЖители коммунальной квартиры все вместе переживают тяготы блокады, сплачиваются, становятся одной семьей. Здесь оптимизм и предвкушение чего-то хорошего сочетаются с рассказом о ежедневных подвигах, которые совершались в блокаду и о которых нельзя забывать.\nБлагодаря графическим рисункам Нины Носкович, история приобретает особую теплоту, нежность, эмоциональность и лирическую красоту.\n \n<img src=\"/sites/default/files/Bulychev_sto-let-tomu-vpered_COVER_1.jpg\" width=\"153\" height=\"210\" style=\"float: left; margin: 5px 10px;\" /><a href=\"http://kidreader.ru/book/2442\">Сто лет тому вперед</a> (ИД Мещерякова)\nЭта фантастическая повесть <a href=\"http://kidreader.ru/author/2439\">Кира Булычева</a> по праву считается одной из лучших книг цикла об Алисе Селезневой, ведь она самая динамичная, самая приключенческая из всех. Читателей ждут путешествия во времени, невероятные интриги и неожиданная развязка…\nПовествование дополняют старые добрые черно-белые зарисовки советского художника-иллюстратора <a href=\"http://kidreader.ru/author/2440\">Евгения Мигунова</a>.\n<h1> </h1>\n<h1>Лучшая издательская серия</h1>\n<img src=\"/sites/default/files/Grib_Cover_COVER_pg3_0.jpg\" width=\"165\" height=\"252\" style=\"float: left; margin: 5px 10px;\" />  <a href=\"http://kidreader.ru/book/2640\">Живая классика</a> (Клевер)\n В 2014 году издательство «Клевер» запустило новую книжную серию «Живая классика», которая уже получила широкий отклик, несмотря на то, что в рамках серии вышли пока только две книги — «Горе от ума» и «Капитанская дочка».\n Серия излагает новый взгляд на исторические события, каждое издание включает в себя не только полный текст произведения, но и классические иллюстрации, а также увлекательные сопроводительные материалы, написанные литературоведами и журналистами.\n В ближайшее время <a href=\"http://kidreader.ru/article/2686\">серия пополнится книгами</a> «Герой нашего времени», «Евгений Онегин» и «Кавказский пленник».\n<h1>Социально важные книги</h1>\n<img src=\"/sites/default/files/zvuchanie_zveta_3d_800_1.jpg\" width=\"147\" height=\"225\" style=\"float: left; margin: 5px 10px;\" />\n <a href=\"http://kidreader.ru/book/2235\">Звучание цвета. Следуя за воображением</a> (Манн, Иванов и Фербер)\n Когда речь идет об ограничении физических возможностей, автору нужно быть очень и очень деликатным.  И у Джимми Лиао это получилось.\n Эта трогательная история о слепой девочке, которая дает волю своему воображению, наполнена светлой грустью и открывает читателям новые грани окружающего мира и самих себя.\n \n \n<img src=\"/sites/default/files/zdorov_cover_0.jpg\" width=\"152\" height=\"233\" style=\"float: left; margin: 5px 10px;\" /> <a href=\"http://kidreader.ru/book/2707\">Будь здоров, школяр</a> (Самокат)\n Автобиографическая повесть <a href=\"http://kidreader.ru/author/2695\">Булата Окуджавы</a> выделяется среди многих других книг о войне тем, что она написана без пафоса и стереотипов.\n Эта книга — о тяжком и угнетающем фронтовом быте, о простых человеческих чувствах, которым есть место даже на войне, о быстром взрослении вчерашних школьников.\n<h1> </h1>\n \n<h1>Лучшая научно-познавательная книга для детей</h1>\n<img src=\"/sites/default/files/Levshin_v-labirinte-chisel_COVER.jpg\" width=\"150\" height=\"182\" style=\"float: left; margin: 5px 10px;\" /> <a href=\"http://kidreader.ru/book/2547\">В лабиринте чисел</a> (ИД Мещерякова)\n Эта книга Эмилии Александровой и Владимира Левшина, которая с 1977 года ничуть не утратила своей актуальности и увлекательности, прививает детям любовь к математике и помогает разобраться даже в самых трудных математических понятиях.\n Авторы создали особенного героя в особенных обстоятельствах: мальчик Чит должен пройти по лабиринту чисел, в котором ему предстоит узнать все о корнях, процентах, дробях, уравнениях, единицах измерения… А помогать ему в этом будет сама Арифметика.\n<img src=\"/sites/default/files/Horomi_cover_0.jpg\" width=\"168\" height=\"214\" style=\"float: left; margin: 5px 10px;\" />\n  <a href=\"http://kidreader.ru/book/2623\">Крестьянские хоромы</a> (Арт-Волхонка)\n Эта книга посвящена азам традиционного северного деревянного зодчества, она рассказывает о строении северной крестьянской избы, раскрывает понятия «подклет», «поветь» и многие другие.\n Особенно ценно в издании то, что текстовый материал дополнен современными и архивными фотографиями, а также иллюстрациями, на которых отражены все детали.\n \n<h1>Самая веселая детская книга</h1>\n<img src=\"/sites/default/files/lekarstvo_cover.jpg\" width=\"150\" height=\"183\" style=\"float: left; margin: 5px 10px;\" /> <a href=\"http://kidreader.ru/book/2853\">Лекарство от послушности</a> (Махаон)\n Коротенькие рассказы Ксении Драгунской пробуждают от спячки живое детское воображение, ведь они буквально заряжены позитивом, а еще атмосферой веселья и шалостей!\n Автор не только дает детям «вредные советы», но и рассказывает о том, что случается с копушами, как ежик может превратиться в самый настоящий ананас, и о многом-многом другом, не менее увлекательном.\n \n<img src=\"/sites/default/files/Arru-Vinio_Vishenka%20na%20torte_cover1_0.jpg\" width=\"150\" height=\"229\" style=\"float: left; margin: 5px 10px;\" />  <a href=\"http://kidreader.ru/book/2829\">Вишенка на торте</a> (КомпасГид)\n По правде говоря, в эту рубрику можно отнести не только «Вишенку на торте», но и все книги серии «<a href=\"http://kidreader.ru/article/2899\">Приключения семейки из Шербура</a>», ведь если родители воспитывают шестерых сыновей (каждого из которых зовут Жан), без веселья и чувства юмора обойтись невозможно.\n У каждого Жана свои проблемы: Жан А. изо всех сил старается адаптироваться в классе, полном девчонок, Жан Б. пытается стать морским скаутом, Жан. В. и Жан Г. дерутся друг с другом каждый вечер, Жан Д. не выговаривает букву «Ж», да и не только ее, а Жан Е. орет так, что у всего семейства закладывает уши. Ну разве это не весело?\n<h1>Лучший стихотворный текст для детей</h1>\n<img src=\"/sites/default/files/obichaya_cover_0.jpg\" width=\"141\" height=\"216\" style=\"float: left; margin: 5px 10px;\" />  <a href=\"http://kidreader.ru/book/2438\">Обычная драка</a> (Самокат)\n Сборник стихов <a href=\"http://kidreader.ru/author/2437\">Марка Вейцмана</a> — о вечных школьных темах, близких и понятных каждому: о любви и дружбе, равнодушии и подлости, о родителях и учебе. Здесь простые, знакомые всем и каждому ситуации, тонкий юмор и проникновенная лирика.\n Именно такими должны быть стихи для подростков.\n \n<img src=\"/sites/default/files/snark_cover_0.jpg\" width=\"150\" height=\"226\" style=\"float: left; margin: 5px 10px;\" /> <a href=\"http://kidreader.ru/book/2553\">Охота на Снарка</a> (Белая ворона)\nЭто фантастическое стихотворение Льюиса Кэрролла, в котором капитан Балабон, мальчик Билетер, Банкир, Булочник, Бобер и многие другие отправляются искать Снарка, хотя никто из них толком не знает, кто это и как он выглядит.\nМожно видеть в стихотворении глубокий подтекст, а можно воспринимать его как детское произведение для игры.\nПоэтический перевод Григория Кружкова блестяще передает ритм, рифму и игру слов текста-оригинала.\n \n<h1>Лучшая книга для малышей</h1>\n<img src=\"/sites/default/files/chudovisha.jpg\" width=\"190\" height=\"179\" style=\"float: left; margin: 5px 10px;\" /><a href=\"http://kidreader.ru/book/2866\">Там, где живут чудовища</a> (Розовый жираф)\n Это яркая и веселая книжка-картинка о безграничности детской фантазии, о том, как необходимо детям проживать яркие эмоции и глубокие чувства, чтобы справиться с трудными ситуациями. Морис Сендак сотворил на страницах книги настоящее страхобразие!\n Книга, которая в 1964 году была награждена престижной медалью Кальдекотта, была впервые издана в России в этом году.\n \n<img src=\"/sites/default/files/Ernesn_Ul-muz_cover.jpg\" width=\"190\" height=\"159\" style=\"float: left; margin: 5px 10px;\" /> <a href=\"http://kidreader.ru/book/2555\">Эрнест и Селестина</a> (Мелик-Пашаев)\n Медведь Эрнест и маленькая мышка Селестина из книжек-картинок <a href=\"http://kidreader.ru/author/2554\">Габриэль Винсан</a> служат образцом взаимоотношений родителей и детей.\nКаждая небольшая история, несмотря на простоту сюжета, пронизана чувствами и переживаниями героев, а цветные иллюстрации наполнены трогательной нежностью и светлой грустью.\n<h1>Лучшая книга для подростков</h1>\n<img src=\"/sites/default/files/beda_cover_1.jpg\" width=\"142\" height=\"216\" style=\"float: left; margin: 5px 10px;\" /> <a href=\"http://kidreader.ru/book/2660\">Беда</a> (Розовый жираф)\n Американский писатель Гэри Шмидт написал пронзительную повесть о Беде, которая если уж приходит в чью-то семью, то отыгрывается на ней за все.\n Однажды Беда настигла счастливую семью Смитов: автомобильная авария, межнациональный конфликт, смерть сына… И тогда младший сын Генри отправляется в путешествие, где ему предстоит переосмыслить свое отношение к Беде, научиться быть самодостаточным и узнать правду о трагедии, которая произошла с его братом.\n \n<img src=\"/sites/default/files/Uezzhaushie%20i%20ostaushiesya_cover_0.jpg\" width=\"144\" height=\"218\" style=\"float: left; margin: 5px 10px;\" />  <a href=\"http://kidreader.ru/book/2860\">Уезжающие и остающиеся</a> (КомпасГид)\n Сборник подростковых повестей <a href=\"http://kidreader.ru/author/2098\">Евгении Басовой</a> затрагивает серьезные темы и взывает к глубоким чувствам, к проявлению всего лучшего, что есть в человеке.\n В «Уезжающих и остающихся» тринадцатилетняя Валя растет без отца и мечтает вырваться из неперспективной, маленькой Ольховки, чтобы чего-то добиться.\n Повесть «Открытые окна», также вошедшая в сборник, стала дипломантом Крапивинской премии-2014.\n \n<h1>Лучшая книга для родителей</h1>\n<img src=\"/sites/default/files/obshatsya_0.jpg\" width=\"135\" height=\"200\" style=\"float: left; margin: 5px 10px;\" /> <a href=\"http://www.labirint.ru/books/438545/?p=4837\">Общаться с ребенком. Как?</a> (АСТ)\nДетский психолог Юлия Гиппенрейтер учит родителей, как наладить контакт со своим ребенком и правильно построить взаимоотношения «родитель — ребенок».\nАвтор не просто дает общие рекомендации, а пошагово инструктирует родителей, приводя при этом примеры из реальной жизни для пущей убедительности.\n \n \n<a href=\"http://www.labirint.ru/books/450930/?p=4837\"><img src=\"/sites/default/files/slushali_0.jpg\" width=\"127\" height=\"193\" style=\"float: left; margin: 5px 10px;\" /> Как говорить, чтобы дети слушали, и как слушать, чтобы дети говорили</a> (Эксмо)\nАвторы Адель Фабер и Элейн Мазлиш дают практические рекомендации о том, как правильно доносить свои мысли и чувства до ребенка, как «достучаться» до него и наладить продуктивное общение.\n \n \nС наилучшими пожеланиями, редакция <a href=\"http://kidreader.ru\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:74a4bf3509f02f85854d52a5954ad677' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Какая зима без этой вечной сказки? Переиздание уже выходившей в свет «<a href=\"http://www.labirint.ru/books/416773/?p=4837\">Снежной королевы</a>» (издательство «Эксмо») представляет известная российская художница — Ника Гольц, которую мы знаем по работам над такими сказками, как «Щелкунчик», «Маленький принц», «Спящая красавица» и «Дюймовочка». Особенность ее работы — это подход к иллюстрациям как к спектаклю. Порядок картинок продуман до мелочей от начала и до конца. Работая над сказками Андерсена, художница посещала Данию, считая важным видеть атмосферу, в которой писал автор. Эта книга станет отличным подарком на новый год, а крупный шрифт позволит детям самим читать сказку.\n<img src=\"/sites/default/files/snezhkorol2.jpg\" width=\"200\" height=\"300\" />\nЕще одно не менее важное издание «<a href=\"http://kidreader.ru/book/1924\">Снежной королевы</a>» вышло в издательстве «Речь». В этом издании иллюстратором выступил знаменитый Валерий Алфеевский, который совершенно замечательно передает зимнее морозное настроение: все у него остро, ярко, поверхности отражают чистый воздух, и так и хочется по ним прокатиться на коньках, а небо — главный предвестник чего-то необычного и волшебного.\n<blockquote>Кай, Герда, принцесса и принц, маленькая разбойница и — как ни удивительно — даже сама Снежная королева кажутся в этом пространстве маленькими и второстепенными. И тем значительнее на этом фоне выглядят их поступки, их умение любить и жертвовать, прощать и сохранять надежду.\n</blockquote>\n— написала в послесловии редактор книги Оксана Василиади, которая называет иллюстрации Алфеевского «магией сказочного пространства».\n<img src=\"/sites/default/files/snezhKorol.jpg\" width=\"200\" height=\"300\" />\nК сказке «<a href=\"http://www.labirint.ru/books/457592/?p=4837\">Как Дед Мороз на свет появился</a>» (издательство «Рипол Классик») нарисовал иллюстрации всем уже давно полюбившийся Игорь Олейников. Его наидобрейшие животные и трогательный Дед Мороз, что ростом меньше кролика, заставят улыбнуться самого хмурого читателя. Это фантастическая история о том, откуда взялся Дед Мороз, который пришел, навел порядок на земле и «принес пользу Матери-Природе и всему звериному царству!». Сказка повествует про настоящего русского Деда Мороза и его внучку, про тройку белых коней, про исчезающих снегирей и про елочку, которая обязательно зажигается и освещает путь Новому году!\n<img src=\"/sites/default/files/kak%20ded.jpg\" width=\"200\" height=\"300\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nКнига pop-up — оживающая сказка в руках малышей. «<a href=\"http://www.labirint.ru/books/459478/?p=4837\">Новогодняя ночь. Мышиная сказка</a>» (издательство «Эксмо») — это летящие по небу олени, залезающий в трубу Дедушка Мороз, двигающиеся игрушки. Текст написан в стихотворной форме и может стать отличной колыбельной. Картинки, нарисованные Джессикой Джонсон, излучают тепло и домашний уют. Предметы интерьера или содержимое саней Деда Мороза — все притягивает взгляд, и хочется подольше остаться на каждой странице. Главные герои — трогательные мышата — проведут вас сквозь новогоднюю ночь и познакомят малышей с волшебным праздником.\n<img src=\"/sites/default/files/ngnoch.jpg\" width=\"200\" height=\"250\" />\n<blockquote>То были времена чудес, Сбывалися слова пророка: Сходили ангелы с небес, Звезда катилась от Востока; С. Черный\n</blockquote>\n«<a href=\"http://www.labirint.ru/books/411657/?p=4837\">Рождественская книга для детей</a>» (издательство «Никея») — это замечательный сборник рождественских стихов и новогодних рассказов для детей. В книгу вошли произведения таких поэтов и писателей, как Афанасий Фет, Саша Черный, Александр Блок, Лидия Чарская, Федор Достоевский, Алексей Толстой, Антон Чехов, Михаил Зощенко. Добрые сказочные иллюстрации выполнены известной московской художницей Дианой Лапшиной. Ее картинки замечательно передают уют и тепло этого самого волшебного праздника. В конце книги вы найдете подарок — рождественские открытки, которые можно вырезать, надписать и подарить близким людям.\n<img src=\"/sites/default/files/rozhkniga.jpg\" width=\"200\" height=\"300\" />\nИстория «<a href=\"http://www.labirint.ru/books/419156/?p=4837\">Сказка на Рождество</a>» (издательство «Белая ворона») написана отважным итальянским писателем, журналистом и художником в нацистском концлагере в 1944 году и является «гимном свободе, воспевающей главное в человеке — любовь». Герои сказки — стихотворение, здравый смысл, ветер, воспоминания, Дед Мороз, сетовавший на войну, и, конечно же, главный герой — мальчик Альбертино, который отправляется к своему папе в лагерь. А за ним на поиски сына следует его бабушка. И тут, естественно, начинаются приключения. Добрые рисунки, сделанные автором, несмотря на монохромность, развивают грустные ощущения от войны. При этом они карикатурны и даже веселы: все недобрые существа выглядят глупо и нелепо, подчеркивая свое недоброе поведение в рождественскую ночь. Это сказка об отцовской тоске по своим детям, о выборе между миром и войной, о силе семейных уз.\n<img src=\"/sites/default/files/skazka%20na.jpg\" width=\"200\" height=\"300\" />\n«<a href=\"http://www.labirint.ru/books/461131/?p=4837\">Рождество в лесу</a>» (издательство «Самокат») — это сказка об ожидании праздника. Ведется повествование с двух сторон. Одна сторона — это ворчливый гном Бука, который ничего не хочет слышать о празднике и закрывается в своем домике с другом шмелем. А другая сторона — кроличья семья и остальные обитатели леса, которые никогда не видели Рождества и ничего о нем не знают, эти герои слышали только то, что нужно приготовить много вкусной еды, улыбаться, давать друг другу хлопушки и ждать гнома, с которым этот праздник и придет. Герои сказки не без приключений обязательно встретятся, и праздник непременно наступит! Нарисовала сказку Эва Эриксон, знаменитая шведская писательница и художница, получившая премию Астрид Линдгрен. Каждая иллюстрация в этой книге выделена в красную рамочку, что придает книге торжественности. Изображение леса — места обитания главных героев — пронизано чистым прозрачным воздухом, от окружения исходят спокойствие и тишина. Все замерло в ожидании Нового года.\n<img src=\"/sites/default/files/v%20lesu.jpg\" width=\"200\" height=\"200\" />\nАльбомный формат и легкие акварельные иллюстрации делают книгу «<a href=\"http://www.labirint.ru/books/456802/?p=4837\">Приключения Юлиуса Одуванчика. Спасти Новый год</a>» (издательство «Поляндрия») отличным подарком на праздник для детей младшего возраста. На каждом рисунке — множество мелких деталей, которые с интересом можно разглядывать, еще глубже погружаясь в историю о том, как вся кроличья семья в приятном волнении готовится к встрече Нового года. Только вот в хлопотах они позабыли про елку, и отправляется за ней отважный крольчонок Юлиус.\n<img src=\"/sites/default/files/ulius.jpg\" width=\"250\" height=\"200\" />\nМария Каштанова, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:2bdf0a89dd11deadaaa36719c8f99729' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Повесть Елены Верейской «<a href=\"http://kidreader.ru/book/2835\">Три девочки. История одной квартиры</a>» была впервые напечатана в 1948 году в Лениздате, а совсем недавно вышла в издательстве «Речь». Она рассказывает о том, как люди, живущие в одной коммунальной квартире, переживают все вместе тяготы блокады, сплачиваются, становятся одной семьей. Главные героини — девочки, которым пришлось быстро повзрослеть за годы войны. Каждая из них преодолевает саму себя: Наташа учится быть храброй, Люся справляется со своей ленью, а Катя побеждает свою застенчивость.\n<img src=\"/sites/default/files/Vereyskaya_Tri_devochki.jpg\" width=\"190\" height=\"257\" />\nКниги Владислава Крапивина, которые сейчас активно выпускает Издательский Дом Мещерякова, можно причислить к этому обзору всей серией. Но особенно выделяется повесть «<a href=\"http://kidreader.ru/book/2350\">Колыбельная для брата</a>». В этой книге Крапивин раскрывает внутренний мир подростка, поднимает проблему взаимоотношения учеников и учителей, недопонимания взрослыми детских проблем, которые на самом деле не такие уж и детские. Здесь есть все: любовь и ненависть, дружба и предательство, бесстрашие и отзывчивость.\n<img src=\"/sites/default/files/Kolybelnaya_dlya_brata_cover-300x300.jpg\" width=\"190\" height=\"224\" />\n«<a href=\"http://kidreader.ru/book/2871\">Дикая собака Динго, или Повесть о первой любви</a>» была впервые опубликована в 1939 году, а в 2013 году, между прочим, вошла в список «100 книг», рекомендованный школьникам Министерством образования и науки РФ для самостоятельного чтения. И это неудивительно, ведь она затрагивает вечные темы: первая любовь, дружба, отношения детей и родителей… Недавно книга вышла в серии «Куда уходит детство» издательства «Энас-книга».\n<img src=\"/sites/default/files/1203_Obl_Dingo_0.jpg\" width=\"190\" height=\"283\" />\nПовести Максуда Ибрагимбекова продолжают мотивировать на подвиги современное поколение детей и подростков. Главный герой повести «<a href=\"http://kidreader.ru/book/2692\">Пусть он останется с нами</a>» (издательство «Белая ворона») пробивается сквозь стену отцовской холодности и неприступности, чтобы быть понятым и услышанным, а герои второй повести, «За все хорошее — смерть», переживают весь спектр человеческих чувств и эмоций, когда стихийное бедствие надолго запирает их в заброшенной пещере.\n<img src=\"/sites/default/files/pust%20ostanetsy.jpg\" width=\"190\" height=\"262\" />\n<a href=\"http://kidreader.ru/book/2540\">Повесть Николая Носова «</a><a href=\"http://kidreader.ru/book/2540\">Витя Малеев в школе и дома</a>» впервые вышла в 1951 году, и уже в 1952 году была удостоена Государственной премии СССР. Сейчас история про Васю Малеева и Костю Шишкина продолжает убеждать детей в том, что школьная дружба — самая крепкая! Герои книги вместе «подтягивают» успеваемость, придумывают невероятные идеи, дрессируют собаку, ходят в цирк и, конечно, приходят друг другу на выручку. Вернуло «Витю Малеева» читающим детям издательство «Махаон».\n<img src=\"/sites/default/files/Vitya_Maleev_Proof_0.jpg\" width=\"190\" height=\"261\" />\nСоветская повесть-сказка «<a href=\"http://kidreader.ru/book/2167\">Старик Хоттабыч</a>» по праву входит в золотой фонд детской литературы. Волька Костыльков — обыкновенный пионер, которому необыкновенно повезло высвободить джинна, и теперь старик Хоттабыч вознамерился исполнять все Волькины желания и стараться во всем угодить мальчику. Трудность в том, что джинн ничего не смыслит в советских реалиях, поэтому с завидным постоянством втягивает Вольку в неприятности. Издательство «Нигма» постаралось по-особенному оформить «Хоттабыча»: текст дополнен черно-белыми иллюстрациями Германа Мазурина, которые были в более ранних изданиях «Хоттабыча», и новыми цветными иллюстрациями этого же художника.\n<img src=\"/sites/default/files/hottabich_cover_0.jpg\" width=\"200\" height=\"267\" />\nПовесть Юрия Третьякова «<a href=\"http://www.labirint.ru/books/460377/?p=4837\">Толстый мальчишка Глеб</a>» (издательство «Речь») способна кого угодно отправить в советское детство на деревне — с легкостью. Главный герой повести Глеб переехал в деревню Гусиновку из Свердловска, и теперь мальчик изо всех сил пытается заслужить уважение местных ребят, а это не так-то просто сделать, если ты толстый, неказистый, конопатый, да еще и носишь очки!\n<img src=\"/sites/default/files/tolstyi.jpg\" width=\"190\" height=\"252\" />\nИ, наконец, «<a href=\"http://kidreader.ru/book/2849\">Кортик</a>» Анатолия Рыбакова (Издательским дом Мещерякова). Повесть, написанная еще в 1948 году, восхищает и современных подростков. А кого не привлекут интересные характеры героев, нешуточная опасность и настоящая тайна?\n<img src=\"/sites/default/files/Kortik_COVER_red_NEW.jpg\" width=\"190\" height=\"261\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">KidReader.ru</a>\nP.S. Редакция сайта <a href=\"http://kidreader.ru\">Kidreader.ru</a> будет благодарна за ваше мнение о переиздании советской классики. \n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:907d11d75199d89b4c15d3ee52b7482c' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Школьные предметы перестают казаться скучными, если изучать их не только за партой по классическому учебнику, но и с помощью научно-популярной литературы. Яркий пример тому — книга «<a href=\"http://kidreader.ru/book/2547\">В лабиринте чисел</a>» (Издательский Дом Мещерякова). Эмилия Александрова и Владимир Левшин создали особенного героя в особенных обстоятельствах: мальчик Чит должен пройти по лабиринту чисел, в котором ему предстоит узнать все о корнях, процентах, дробях, уравнениях, единицах измерения… А помогать ему в этом будет сама Арифметика.\n<img src=\"/sites/default/files/Levshin_v-labirinte-chisel_COVER1_0.jpg\" width=\"190\" height=\"290\" />\nВ числе наиболее увлекательных «математических» книг есть и еще одна, на этот раз для дошкольников: «<a href=\"http://www.labirint.ru/books/462683/?p=4837\">Приключения Кубарика и Томатика, или Веселая математика</a>» (издательство «Розовый жираф»). Математическая сказка Генриха Сапгира, которую с особенной теплотой вспоминают многие сегодняшние родители, дополнена новыми заданиями, составленными методистом Юлией Луговской.\n<img src=\"/sites/default/files/sapgir_0.jpg\" width=\"190\" height=\"250\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nЗнакомство детей с животными начинается с малых лет, и книга в этом процессе играет не последнюю роль. Развивающая книга «<a href=\"http://kidreader.ru/book/2346\">Жиневоты</a>» (издательство «Манн, Иванов и Фербер») одновременно является и книжкой-картинкой, и книжкой-игрушкой, и книжкой-загадкой. За клапанами и окошками, которые можно и нужно открывать, скрыты различные животные, а догадаться, изображение какого именно животного там спрятано, дети смогут по специальным подсказкам, на которых нарисованы звериные шкуры, хвосты, а иногда даже следы.\n<img src=\"/sites/default/files/ginevoti_3d_340_0.jpg\" width=\"190\" height=\"254\" />\nНеобъяснимая любовь маленьких детей к динозаврам была учтена некоторыми издательствами. Например, в Издательском Доме Мещерякова вышла книга Ирины Яковлевой «<a href=\"http://kidreader.ru/book/2593\">Палеонтология в картинках</a>». «Палеонтология…» посвящена доисторическим существам: от грозных саблезубых тигров и исполинских динозавров до первых живых организмов в природе. Предельно реалистичные иллюстрации художника-анималиста <a href=\"http://kidreader.ru/author/2592\">Рубена Варшамова</a> добавляют ценности изданию, они поражают воображение и воскрешают яркие образы давно исчезнувших миров.\n<img src=\"/sites/default/files/Paleontologia_COVER1_0.jpg\" width=\"190\" height=\"275\" />\nТему динозавров продолжает книга «<a href=\"http://www.labirint.ru/books/167495/?p=4837\">Энциклопедия древностей: динозавры</a>» (издательство «Розовый жираф»). В книге собраны наиболее удивительные факты о динозаврах, рассмотрены более 50 их видов и даже изложены гипотезы о причинах их исчезновения. Эта книга о динозаврах — объемная, на каждом ее развороте оживает динозавр, что приводит в полный восторг маленьких детей.\n<img src=\"/sites/default/files/drevnosti.jpg\" width=\"190\" height=\"235\" />\n«<a href=\"http://kidreader.ru/book/2623\">Крестьянские хоромы</a>» (издательство «Арт-Волхонка») посвящены одному из культурных аспектов — строению северной крестьянской избы, которая является наследницей безвозвратно утраченных древнерусских хором. Елена Заручевская рассказывает, что такое подклет и поветь, откуда появилась поговорка «плясать от печки», какие инструменты использовали при строительстве хором и многое-многое другое. Особенно ценно в издании то, что текстовый материал дополнен современными и архивными фотографиями, а также иллюстрациями, на которых отражены все детали.\n<img src=\"/sites/default/files/Horomi_cover.jpg\" width=\"190\" height=\"241\" />\nПознавательная книга Дины Арсеньевой «<a href=\"http://kidreader.ru/book/2820\">Эрмитаж. С этажа на этаж</a>» (издательство «Фома) посвящена одному из крупнейших музеев мира. Она просто и увлекательно рассказывает детям о том, как дворец превратился в музей,  и о том, что самого интересного дети смогут найти в Эрмитаже, когда придут туда, а также объясняет, зачем в музее живут коты и какую службу они несут.\n<img src=\"/sites/default/files/131_cover_Ermitaz.jpg\" width=\"190\" height=\"244\" />\nИллюстрированный детский атлас «<a href=\"http://kidreader.ru/book/2637\">Карты России</a>» (издательство «Речь») вобрал в себя все самое интересное из истории, культуры, искусства, литературы, архитектуры, флоры и фауны. Александр Голубев включил в атлас информацию о народных промыслах, национальных костюмах, географических особенностях, памятниках литературным героям и самых знаменитых людях нашей страны.\n<img src=\"/sites/default/files/karti_cover.jpg\" width=\"190\" height=\"250\" />\nВ книге Марка Пекарского «<a href=\"http://kidreader.ru/book/2774\">Бей в барабан и не бойся</a>» (издательство «Арт-Волхонка») дядюшка Маркус расскажет детям, которые неравнодушны к музыке, о литаврах и там-тамах, дарбуках и дамару, гонгах и бубне, колоколах и кастаньетах, а еще о ксилофоне, маримбе и вибрафоне. Увлекательное путешествие по миру ударных инструментов начинается еще в каменном веке, проходит через Древний Китай, Индию, племена майя, Европу эпохи Возрождения и заканчивается сегодняшним днем.\n<img src=\"/sites/default/files/bey_cover_0.jpg\" width=\"190\" height=\"225\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:f97056f2cfba7193c436143de51f26a8' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '«<a href=\"http://www.labirint.ru/books/340210/?p=4837\">Бабочки</a>» помогут детям прочувствовать появление первых весенних цветов, испытать «вербное настроение», пережить маленькое приключение мальчика Паши и увидеть воздух. Книга с весенним настроением впервые была издана в 1987 году и написана совместно с советским детским писателем – Юрием Ковалем.\n<img src=\"/sites/default/files/imgserver.jpg\" width=\"190\" height=\"285\" />\nНет ничего зазорного в разговорах с цветами или в опаске волков, правда? А чем же отличается простая рука от руки художника и что делать с заячьим букетом? «<a href=\"http://www.labirint.ru/books/386805/?p=4837\">Жеребенок</a>» ответит на эти вопросы, а еще расскажет, чем летний кот не похож на осеннего.\n<img src=\"/sites/default/files/imgserver%20%284%29.jpg\" width=\"190\" height=\"248\" />\n«<a href=\"http://www.labirint.ru/books/315110/?p=4837\">Заячьи тропы</a>». Котовий хвост и хвостик от яблока – снегирей не проведешь! Лес-доктор вылечил горло больного! Повседневная жизнь зайцев и любителей походов в зимний лес и еще много-много снежных историй.\n <img src=\"/sites/default/files/imgserver%20%281%29_0.jpg\" width=\"190\" height=\"285\" />\n«<a href=\"http://www.labirint.ru/books/337356/?p=4837\">Снег</a>» – про то и книга, а еще про то, что о сирени можно и зимой петь, про таинственное явление – снегодождь и про то, что если ты пьешь чай с медом, то непременно похож на деда.\n<img src=\"/sites/default/files/imgserver%20%286%29.jpg\" width=\"190\" height=\"276\" />\n«<a href=\"http://www.labirint.ru/books/327698/?p=4837\">Стеклянный пруд</a>» – все в этой книге светится и мерцает. Вы узнаете, какие бывают звуки ранней весны, как галки набирают в клюв тепло, про залив Сковорода на реке Сестре и про малиновые духи. А еще найдете в ней слова одной замечательной старинной песни, которые Татьяна Маврина записала на одно из своих рисунков к этой книге.\n<img src=\"/sites/default/files/imgserver%20%283%29.jpg\" width=\"190\" height=\"127\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n«<a href=\"http://www.labirint.ru/books/335546/?p=4837\">Журавли</a>» – одной обложкой сообщают о том, что внутри нас ожидает что-то теплое и яркое. Ребят повеселят диковинные сравнения: журавлей с солдатами, старое дерево с серебром, рябину с сиренью.\n<img src=\"/sites/default/files/imgserver%20%285%29.jpg\" width=\"190\" height=\"131\" />\n«<a href=\"http://www.labirint.ru/books/357943/?p=4837\">Как у бабушки козел</a>». Издание представляет полную версию потешки про самоуверенного и хвастливого козла. Удобный картонный переплет позволяет бесстрашно вручать книгу малышам. Внутри вы найдете знаменитый \"мавринский\" шрифт – весь текст написан вручную художницей.\n<img src=\"/sites/default/files/10172_1415272986.jpg\" width=\"190\" height=\"233\" />\n«<a href=\"http://www.labirint.ru/books/325296/?p=4837\">На острове Буяне</a>» – народные и всеми любимые сказки для малышей в классическом изложении, а самое главное, это очень личная работа Татьяны Мавриной, т.к. свою жизнь она посвятила не только живописи, но и изучению русского зодчества и фольклора. Остров Буян и Лукоморье неотступно следовали за художницей весь ее творческий путь.\n<img src=\"/sites/default/files/imgserver%20%287%29.jpg\" width=\"190\" height=\"276\" />\n«<a href=\"http://www.labirint.ru/books/357942/?p=4837\">Пир грибов</a>» – своеобразная лесная энциклопедия для малышей, в которой с легкостью можно выучить какие грибы съедобные, а какие нет. Впервые была издана в 1957 году, и теперь снова дети и их родители могут наслаждаться веселой историей про необычный пир.\n<img src=\"/sites/default/files/10172_1415272986%20%281%29.jpg\" width=\"190\" height=\"225\" />\n«<a href=\"http://www.labirint.ru/books/357946/?p=4837\">Сорока-белобока</a>». Неустаревающее народное слово и идущие рядом иллюстрации Татьяны Мавриной создают диалог сказочной красоты и лаконичной простоты. Самое примечательное в этом издании – это текст – он весьма отличается от других изданий: «На порог скакала, детей скликала!». Книга предназначена для малышей самого раннего возраста, когда родители начинают практиковать пальчиковые игры.\n<img src=\"/sites/default/files/imgserver%20%289%29.jpg\" width=\"190\" height=\"136\" />\n«Воробышек хвалился,  Да спать завалился, Когда он проснется, Сказка снова начнется». Чем завораживают песенки-потешки малышей? Конечно волшебным ритмом и напевом слога. Одни заставляют засыпать, другие танцевать. «<a href=\"http://www.labirint.ru/books/357944/?p=4837\">Плетень</a>» также напечатана на картоне и выполнена в удобном формате для детей.\n<img src=\"/sites/default/files/imgserver%20%2810%29.jpg\" width=\"190\" height=\"266\" />\n<a href=\"http://www.labirint.ru/books/357945/?p=4837\">«Жили-были» </a>– энциклопедия для малышей главных героев русских народных сказок. Всего 4 разворота, но сколько впечатлений получит малыш: живые, обаятельные звери являют собой целые истории, о которых можно подолгу фантазировать.\n<img src=\"/sites/default/files/imgserver%20%288%29.jpg\" width=\"190\" height=\"266\" />\nМария Каштанова, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:54c0b227c8fd4015b6db48500ffba6ff' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'На осеннюю тему в издательстве «КомпасГид» вышли целых две книги, и обе они написаны педагогом Мариной Аромштам.\nКнига «<a href=\"http://kidreader.ru/book/2685\">Как Осень замуж выходила</a>» рассказывает о том, почему именно осень выглядит так ярко. Оказывается, свое платье из разноцветных листьев Осень сшила себе ко дню свадьбы с самым завидным женихом облачного царства — принцем Серебряным дождем. Красивая история сопровождается нежными, почти невесомыми иллюстрациями Надежды Столповской и Марии Овчинниковой.\n<img src=\"/sites/default/files/Kak%20osen%20zamuzh%20vykhodila_cover-500x500.JPG\" width=\"190\" height=\"190\" />\nВторая осенняя сказка Аромштам — «<a href=\"http://www.labirint.ru/books/381490/?p=4837\">Желуденок</a>». Она раскрывает трогательную историю жизни обыкновенного желудя, который оторвался от дуба, чтобы стать сначала маленьким росточком, а затем, без сомнения, самостоятельным могучим дубом. Особую ценность представляют осенние масляные иллюстрации Марии Овчинниковой.\n<img src=\"/sites/default/files/Zheludenok_cover-500x500.jpg\" width=\"190\" height=\"190\" />\nОсень многократно воспевалась в стихах, она была любимым временем года многих русских классиков. В книгу «<a href=\"http://www.labirint.ru/books/442945/?p=4837\">Листопад</a>» (ИЦ Москвоведение) вошла пейзажная лирика Майкова, Тютчева, Блока, Бунина и Есенина. Стихи этих поэтов представляют ценность сами по себе, но в сопровождении иллюстраций Николая Устинова они обретают еще больший смысл, еще большую выразительность. Именно за иллюстрации эта книга получила первую премию IV Всероссийского конкурса «Алые паруса».\n<img src=\"/sites/default/files/listopad.jpg\" width=\"190\" height=\"262\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nЕще одна книга стихотворений об осени — «<a href=\"http://www.labirint.ru/books/407305/?p=4837\">Осеннее эхо</a>» (издательство «Адонис»). В нее вошли лучшие стихи русских поэтов об осенней природе и ее очаровании. Они передают и красоту осени, и ее настроение. Красивые пейзажи, созданные художником И. Слупицкой, позволяют полностью погрузиться в осеннюю атмосферу.\n<img src=\"/sites/default/files/osennee%20eho.jpg\" width=\"190\" height=\"223\" />\n«<a href=\"http://www.labirint.ru/books/456811/?p=4837\">Рыжая книга осени</a>» (издательство «Карьера-пресс») дает ответы на многие детские вопросы: «Почему листья изменили свой цвет?», «Почему идет дождь?», «Почему день стал короче?». Эта книга о том, что даже осенью, в унылую погоду, день малыша может быть наполнен радостью и новыми открытиями. Приятными бонусами для детей и их родителей станут небольшие, но очень уютные дополнения: рецепт вкусного пирога и мастер-класс по рисованию.\n<img src=\"/sites/default/files/rizhaya.jpg\" width=\"190\" height=\"254\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nНеобычная «<a href=\"http://www.labirint.ru/books/256576/?p=4837\">Осенняя книга</a>» (издательство «Самокат») практически не содержит текста и предназначена в основном для детального разглядывания, игр и развития детской речи. На фоне осени в Городке происходит множество увлекательных событий: Генрих и Анна вырастили огромную тыкву, Клара переделала свою тележку на осенний лад, белки запасают орехи на зиму…\n<img src=\"/sites/default/files/osennyya%20kniga%20berner.jpg\" width=\"190\" height=\"286\" />\n<a href=\"http://www.labirint.ru/books/449448/?p=4837\">«</a><a href=\"http://www.labirint.ru/books/449448/?p=4837\">Петсон грустит</a>» Свена Нурдквиста (издательство «Белая ворона») — это книга с настоящим осенним настроением, хотя она и не посвящена непосредственно осени. Старик Петсон впал в самую настоящую осеннюю хандру, и его изобретательный котенок Финдус делает все возможное и невозможное, чтобы только вернуть другу радость!\n<img src=\"/sites/default/files/petson_grustit.jpg\" width=\"149\" height=\"200\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:63649ee4e3d6f279475b31d538fe1d21' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Школьные каникулы и приключения неразрывно связаны, а читать о чужих приключениях может быть не менее увлекательно, чем совершать свои. Яркое подтверждение тому — книга Кира Булычева «<a href=\"http://kidreader.ru/book/2709\">Конец Атлантиды</a>» (Издательский Дом Мещерякова). Алиса Селезнева снова подвергает себя опасностям, на этот раз вместе со своим другом Пашкой Гераскиным она отправляется на поиски затонувшего города и его жителей…\n<img src=\"/sites/default/files/atlantida1_0.jpg\" width=\"190\" height=\"290\" />\nВ книге Юрия Третьякова «<a href=\"http://kidreader.ru/book/2744\">Начало рыбачьего патруля</a>» (издательство «Речь») приключения не фантастические, а предельно реальные, но при этом не менее захватывающие. Обычные школьники из маленького городка становятся героями живых, остроумных, а где-то и трогательных историй.\n<img src=\"/sites/default/files/Nachalo-rybachyego-patrulya.jpg\" width=\"190\" height=\"269\" />\nВсе дети — неутомимые затейники, а сборник веселых рассказов Николая Носова, в котором герои постоянно попадают в комичные и нелепые ситуации из-за своих затей, только подстегнет их безграничное воображение! Ну и, конечно, «<a href=\"http://kidreader.ru/book/2760\">Затейники</a>» (издательство «ЭНАС-книга») способны поднять настроение любому ребенку и текстом, и озорными иллюстрациями Ивана Семенова.\n<img src=\"/sites/default/files/1223_Obl_Zateiniki_mini.jpg\" width=\"190\" height=\"239\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВ продолжение «веселой» темы — книга современного автора Михаила Барановского «<a href=\"http://www.labirint.ru/books/436138/?p=4837\">Я воспитываю папу-2, или собачий вальс</a>» (издательство «Клевер»). Десятилетний Марик живет вдвоем с отцом и буквально умоляет его завести собаку, но отец требует от сына выполнения нескольких условий…\n<img src=\"/sites/default/files/vospitivayou_cover.jpg\" width=\"190\" height=\"287\" />\nБольшая маленькая девочка Женя, созданная <a href=\"http://kidreader.ru/article/2671\">Марией Бершадской</a>, продолжает с юмором рассказывать о себе. В шестой истории «<a href=\"http://www.labirint.ru/books/437966/?p=4837\">Тыквандо</a>» (издательство «КомпасГид») события происходят накануне Хэллоуина (который, кстати, и к нам вот-вот нагрянет). Женя и Мишка готовятся победить в конкурсе «Тыква года», но есть проблема: тяжеленную тыкву нужно в целости и сохранности доставить в школу. Без приключений, как всегда, не обходится, зато читателям хорошее настроение на все каникулы обеспечено.\n<img src=\"/sites/default/files/Tykvando.jpeg\" width=\"190\" height=\"222\" />\nСказочное настроение каникул подкрепит самая настоящая сказка одного из лучших в мире сказочников — «<a href=\"http://kidreader.ru/book/2634\">Ведьмы</a>» Роальда Даля (издательство «Самокат»). Главному герою предстоит не только убедиться, что ведьмы преспокойно живут среди людей и их чрезвычайно трудно распознать, но и сразиться с Величайшей Самой Главной Ведьмой Всех Времен. Ироничные черно-белые зарисовки Квентина Блейка еще больше погружают читателей в атмосферу сказки.\n<img src=\"/sites/default/files/Vedmi_cover_0.jpg\" width=\"190\" height=\"290\" />\nХорошо читать о трудностях со школой, когда сам находишься на каникулах. Своенравному Матье Идальфу из книги «<a href=\"http://kidreader.ru/book/2550\">Матье Идальф и Шальная Молния</a>» (издательство «Поляндрия») предстоит пройти через множество вступительных испытаний, чтобы его приняли в Школу Элиты, о которой он всегда мечтал. Казалось бы, где тут увлекательный сюжет? Пожалуй, стоит добавить, что Матье совершенно не готовился к экзаменам, а все свои силы затратил на сумасшедшую идею: стать первым, кто сможет обхитрить экзаменаторов…\n<img src=\"/sites/default/files/matie_cover_0.jpeg\" width=\"190\" height=\"290\" />\nПодросткам, конечно, полагается более серьезное чтение. Например, «<a href=\"http://kidreader.ru/book/2660\">Беда</a>» Гэри Шмидта (издательство «4-я улица»). Семья Смитов живет в маленьком уютном и спокойном городочке Блайтбери-на-море, там же на протяжении трехсот лет жили ее предки — далеко от Беды. Но однажды Беда не просто нашла Смитов, а решила отыграться на них за все прошедшее время — несчастья стали происходить одно за другим… Главному герою, Генри Смиту, предстоит найти свое счастье вопреки всему, несмотря на боль, горечь и страдания вокруг.\n<img src=\"/sites/default/files/beda_cover_0.jpg\" width=\"190\" height=\"290\" />\nПодростки лучше многих других знают о трудности выбора, а значит проблема Джонаса, героя антиутопии «<a href=\"http://kidreader.ru/book/2701\">Дающий</a>» (издательство «Розовый жираф»), будет им особенно близка. Джонас получил необычное назначение, он стал Принимающим воспоминания, и теперь от его выбора зависит жизнь целого сообщества. Тем подросткам, которые уже посмотрели фильм «<a href=\"http://kidreader.ru/article/2307\">Посвященный</a>», будет интересно узнать более полную и глубокую версию — книжную.\n<img src=\"/sites/default/files/dayushiy_cover1_0.jpg\" width=\"190\" height=\"290\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:cd70733ad32e9b20ed904c4e8711f944' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Когда можно вмешиваться в жизнь своего ребенка, а когда не стоит? Как воспитывать, чтобы не ранить, чтобы не ущемить достоинство своего отпрыска? Ответ не всегда очевиден, а книга Гюру Эйестада «<a href=\"http://www.labirint.ru/books/442142/?p=4837\">Самооценка у детей и подростков</a>» (издательство «Альпина Паблишер») помогает разобраться в подобных тонкостях. Эйестад подробно разбирает «механизм» обретения ребенком самостоятельности и объясняет, как создать для своего чада (любого возраста, в том числе и подросткового!) «круг безопасности», чтобы не навредить его самооценке. Практические рекомендации, примеры из реальной жизни и подробный анализ ситуаций придут на помощь родителям, которые стремятся к осознанному воспитанию.\n<img src=\"/sites/default/files/samoocenka.jpg\" width=\"200\" height=\"252\" />\nНепредсказуемые и агрессивные, сложные подростки зачастую буквально сводят с ума своих родителей. Если Вы уже успели дойти до грани отчаяния, книга Латты Найджела «<a href=\"http://www.labirint.ru/books/344959/?p=4837\">Пока ваш подросток не свел вас с ума</a>» (издательство «Рипол-Классик») приведет Вас в чувство. Психолог с 20-летним стажем и по совместительству отец двоих детей делится с родителями своим опытом и дает конкретные рекомендации: как понять, что происходит с ребенком, и как ему помочь.\n<img src=\"/sites/default/files/poka%20vash.jpg\" width=\"190\" height=\"289\" />\nРодителям, которые изо всех сил стараются уследить за своим ребенком, уберечь его от ошибок, плохих компаний и других зол, раскроет глаза на происходящее книга Джин и Роберта Байярдов «<a href=\"http://www.labirint.ru/books/321994/?p=4837\">Ваш беспокойный подросток. Практическое руководство для отчаявшихся родителей</a>» (издательство «Академический проект»). Авторы помогают родителям отпустить всесторонний контроль за жизнью подростка и начать жить своей жизнью.\n<img src=\"/sites/default/files/bespokoiniy.jpg\" width=\"190\" height=\"295\" />\nАвторы Адель Фабер и Элейн Мазлиш, помимо книг, которые мы упоминали в предыдущем <a href=\"http://kidreader.ru/article/2730\">обзоре для родителей младших школьников</a>, написали также книгу о построении взаимоотношений с ребенком подросткового возраста — «<a href=\"http://www.labirint.ru/books/268745/?p=4837\">Как говорить, чтобы подростки слушали, и как слушать, чтобы подростки говорили</a>» (издательство «Эксмо-Пресс»). Здесь раскрыта тема активного слушания, приведены фразы-ключи, которые помогают «вырулить» из разгорающегося конфликта и, конечно, даны конкретные рекомендации. Книга поможет родителям найти идеальную позицию по отношению к подростку: между раздражающей навязчивостью и пугающим безразличием.\n<img src=\"/sites/default/files/slushaliP.jpg\" width=\"190\" height=\"320\" />\nДля родителей, которые задумываются о сексуальном воспитании своих детей, Дебра Хаффнер (между прочим, президент Совета по сексуальному воспитанию и просвещению США), написала книгу «<a href=\"http://www.labirint.ru/books/374193/?p=4837\">От пеленок до первых свиданий</a>» (издательство «Рама Паблишинг»). Автор делится с родителями, как правильно говорить на откровенные темы с ребенком любого возраста, в том числе и с подростком. Эта книга позволит родителям обрести уверенность при обсуждении даже, казалось бы, самых щекотливых тем со своим чадом.\n<img src=\"/sites/default/files/Ot_pelenok_do_pervyh_svidanij.jpeg\" width=\"190\" height=\"296\" />\nВ продолжение темы сексуального воспитания — книга Александра Полеева «<a href=\"http://www.labirint.ru/books/432202/?p=4837\">Трудный подросток глазами сексолога. Практическое руководство для родителей</a>» (издательство «Эксмо»). Автор учит родителей, как понять сына-подростка, помочь ему на этапе взросления справиться с «гормональными бурями пубертата» и стать для него верным другом, к которому можно обратиться с любым волнующим вопросом.\n<img src=\"/sites/default/files/seksolog.jpg\" width=\"190\" height=\"303\" />\nФранцузский психолог Франсуаза Дольто, автор популярной книги «<a href=\"http://kidreader.ru/book/1369\">На стороне ребенка</a>», написала продолжение — «<a href=\"http://www.labirint.ru/books/286599/?p=4837\">На стороне подростка</a>» (издательство «Рама Паблишинг»). Дольто поднимает самые неудобные темы, которые только всплывают при воспитании подростка, она пишет о самоубийствах и побегах из дома, о подростковом одиночестве, определении сексуальной ориентации и многом другом. Книга настраивает родителей на волну принятия и помогает наладить взаимоотношения со своим ребенком.\n<img src=\"/sites/default/files/na%20storone.jpg\" width=\"190\" height=\"280\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:e06617faf17f5c543a0ef666f3f3d9cc' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'У Адель Фабер и Элейн Мазлиш есть целых две полезных книги по воспитанию детей: «<a href=\"http://www.labirint.ru/books/450930/?p=4837\">Как говорить, чтобы дети слушали, и как слушать, чтобы дети говорили</a>» и «<a href=\"http://www.labirint.ru/books/451016/?p=4837\">Как говорить с детьми, чтобы они учились</a>» (издательство «Эксмо»).\nВ первой книге речь идет о детях всех возрастов (от дошкольников до подростков). Авторы дают практические рекомендации о том, как правильно доносить свои мысли и чувства до ребенка, как «достучаться» до него и наладить продуктивное общение.\n<img src=\"/sites/default/files/slushali.jpg\" width=\"190\" height=\"287\" />\nВо второй книге авторы делятся своим опытом: как родители могут помочь ребенку решить проблемы с учебой? «<a href=\"http://www.labirint.ru/books/451016/?p=4837\">Как говорить с детьми, чтобы они учились</a>» — это своеобразный «сборник советов», который поможет родителям привить своим детям любовь к учебе, развить в них чувство ответственности и самоконтроля.\n<img src=\"/sites/default/files/uchilis.jpg\" width=\"132\" height=\"200\" />\n«<a href=\"http://www.labirint.ru/books/187389/?p=4837\">Продолжаем общаться с ребенком. Так?</a>» (издательство «Астрель») — это продолжение книги Юлии Гиппенрейтер «Общаться с ребенком. Как?», которая вошла в <a href=\"http://kidreader.ru/article/2710\">первый обзор</a>. Во второй книге затронуты вопросы правильного наказания ребенка, приучения его к порядку и дисциплине, есть тема, посвященная настрою ребенка на хорошую учебу. Также автор приводит действенные техники общения с ребенком и, конечно же, массу примеров того, как этого работает.\n<img src=\"/sites/default/files/tak.jpeg\" width=\"190\" height=\"298\" />\n«<a href=\"http://www.labirint.ru/books/112616/?p=4837\">Книга для неидеальных родителей, или жизнь на свободную тему</a>» Ирины Млодик (издательство «Генезис») ломает все стереотипы воспитания. Эта книга о том, как не навредить своему ребенку, как вырастить его хорошим человеком, не сломав его, не надавив на него шаблонами, она помогает вспомнить о детских чувствах и желаниях, рассказывает о безоценочных отношениях. Частые ошибки родителей демонстрируются в письмах и конкретных примерах.\n<img src=\"/sites/default/files/mlodik.jpg\" width=\"190\" height=\"278\" />\nДжон Грэй, автор всемирно известной книги о взаимоотношениях мужчин и женщин «Мужчины с Марса, женщины с Венеры», написал книгу о воспитании детей — «<a href=\"http://www.labirint.ru/books/184669/?p=4837\">Дети — с небес</a>» (издательство «София»). Автор направляет родителей на то, чтобы жить с ребенком в мире и согласии, а также настаивает на том, чтобы ребенку с детства внушали: «Отличаться от других — нормально, совершать ошибки — нормально, проявлять негативные эмоции — нормально, хотеть большего — нормально, выражать свое несогласие — нормально».\n<img src=\"/sites/default/files/s%20nebes.jpg\" width=\"190\" height=\"304\" />\nЕсли Вы задаетесь вопросом о том, правильно ли Вы воспитываете своего ребенка, книга Кристины Гросс-Ло «<a href=\"http://www.labirint.ru/books/451208/?p=4837\">Родители без границ</a>» (издательство «Синдбад») поможет Вам найти правильный ответ. Признанный эксперт в области воспитания побывала в Финляндии и США, во Франции и Германии, в Китае и Японии, изучила методы воспитания в этих странах. Автор книги не просто описала, как в разных культурах принято развивать в детях терпение, креативное мышление и самостоятельность, но и создала особую методику, которая позволяет подарить детям больше возможностей.\n<img src=\"/sites/default/files/roditeli%20bez%20granic.png\" width=\"190\" height=\"190\" />\nКапризы и истерики хоть изредка, но случаются у всех детей без исключения. Книга Мадлен Дени «<a href=\"http://www.labirint.ru/books/367786/?p=4837\">Капризы и истерики: как справиться с детским гневом</a>» (издательство «Клевер») подскажет родителям, как правильно реагировать на скандалы ребенка по пустякам, как не раздражаться самому и не срываться на ребенке в ответ. Все советы рассортированы по разделам в зависимости от возраста ребенка; в нашем случае подходит раздел «от 6 до 10 лет». Бонусом в конце книги даны маленькие хитрости в виде специальных упражнений для коррекции поведения и избавления от гнева.\n<img src=\"/sites/default/files/Kaprizy_i_isteriki_0.jpeg\" width=\"190\" height=\"259\" />\nАнтон Макаренко известен как педагог, определивший способ педагогического мышления в ХХ веке. Его книга «<a href=\"http://www.labirint.ru/books/455531/?p=4837\">Общение с трудными детьми</a>» (издательство «АСТ») поможет родителям завоевать и удержать родительский авторитет, подтолкнуть ребенка к всестороннему развитию и вырастить его счастливым и целеустремленным.\n<img src=\"/sites/default/files/obshenie.jpg\" width=\"190\" height=\"293\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:096d4387847e8df799c4198f41c62ae1' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Книгу «<a href=\"http://www.labirint.ru/books/101497/?p=4837\">Как вырастить ребенка счастливым</a>» (издательство «Генезис») можно читать даже тем, кто только готовится стать родителем. Американский психотерапевт Жан Ледлофф подводит настоящих и будущих мам к тому, что родительская любовь и контакт с ребенком намного важнее, чем советы Ваших близких, а материнская интуиция может стать огромным помощником в воспитании. Автор делится своими исследованиями в области взаимоотношений детей и родителей в одном из племен южной Америки и переносит их систему воспитания в нашу реальность. Если Вы являетесь сторонником естественного воспитания детей, эта книга может стать для Вас хорошим помощником.\n<img src=\"/sites/default/files/kak%20virastit.jpg\" width=\"190\" height=\"278\" />\nНикто не спорит, что воспитание ребенка — процесс не из легких. Именно поэтому нужно избежать лишних осложнений на пустом месте, а поможет в этом книга Евгения Комаровского «<a href=\"http://www.labirint.ru/books/364050/?p=4837\">Здоровье ребенка и здравый смысл его родственников</a>» (издательство «Эксмо»). Комаровский не только дает понятные, рациональные и простые советы, но и объясняет, как соблюсти здоровые границы в общении Ваших родных и близких с Вашим ребенком. Книга подойдет и будущим родителям, и родителям «со стажем».\n<img src=\"/sites/default/files/zdorovie.jpg\" width=\"190\" height=\"258\" />\n<a href=\"http://kidreader.ru/book/871\">Масару Ибука</a> в своей книге «<a href=\"http://www.labirint.ru/books/263149/?p=4837\">После трех уже поздно</a>» (издательство Альпина нон-фикшн) предлагает простые и понятные приемы обучения, которые способствуют раннему развитию ребенка. Автор считает, что в раннем возрасте дети способны освоить что угодно играючи, и родители должны использовать этот факт, чтобы открыть для своих детей новые возможности и помочь им раскрыть весь свой потенциал.\n<img src=\"/sites/default/files/posle3.jpg\" width=\"190\" height=\"281\" />\nАмериканская журналистка Памела Друкерман не просто заметила, что французские дети более послушны, но и написала книгу о секретах французского воспитания, которая уже успела стать настоящим бестселлером, — «<a href=\"http://www.labirint.ru/books/442488/?p=4837\">Французские дети не плюются едой</a>» (издательство «Синдбад»). Эта книга о том, что француженки любят своих детей, но не боготворят их, они не жертвуют ради детей своей жизнью и своими удовольствиями. Многие советы автора с легкостью можно перенести и на российскую действительность: «Ребенок, вошедший в комнату без приветствия со взрослыми, не заслуживает умиления».\n<img src=\"/sites/default/files/franc.jpeg\" width=\"190\" height=\"266\" />\nДетский психолог Юлия Гиппенрейтер в книге «<a href=\"http://www.labirint.ru/books/438545/?p=4837\">Общаться с ребенком. Как?</a>» (издательство «АСТ») учит родителей налаживать глубокий контакт со своим ребенком и правильно строить взаимоотношения «родитель — ребенок». Автор не просто дает общие рекомендации, а пошагово инструктирует родителей, приводя при этом примеры из реальной жизни для пущей убедительности.\n<img src=\"/sites/default/files/obshatsya.jpg\" width=\"190\" height=\"281\" />\nМетодика педагога Марии Монтессори активно используется по всему миру, в России уже давно есть и детские сады, работающие по этой методике, и даже школы. Книга Монтессори «<a href=\"http://www.labirint.ru/books/453649/?p=4837\">Помоги мне это сделать самому</a>» (издательство «Карапуз») агитирует родителей предоставить маленькому ребенку полную свободу самовыражения и действий, а также содержит советы, как именно это нужно сделать.\n<img src=\"/sites/default/files/montassory.jpg\" width=\"190\" height=\"298\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:82f1dbbac725464e7c468c5273413c07' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Поучительная история «<a href=\"http://kidreader.ru/book/2542\">Хочу как ты</a>» (издательство «Фома») расскажет детям о том, как трудно порой бывает принять и полюбить себя таким, какой ты есть, но как это необходимо каждому из нас. Маленькая паучиха Поля прошла долгий и тернистый путь, прежде чем открыла для себя простую истину: нужно быть собой (даже если плетение паутины кажется не таким увлекательным занятием, как прыжки в траве или полеты ввысь) и делать то, что хорошо получается. Иллюстрации <a href=\"http://kidreader.ru/author/2216\">Натальи Салиенко</a> заряжают летним настроением и убеждают нас в том, что насекомые не лишены своего обаяния.\n<img src=\"/sites/default/files/cover_HochyKakTi1.jpg\" width=\"190\" height=\"290\" />\nДействие в книге <a href=\"http://kidreader.ru/author/2517\">Альфа Прейсена</a> «<a href=\"http://kidreader.ru/book/2519\">Веселый новый год</a>» (издательство «Мелик-Пашаев») происходит в дружном мышином семействе, которое, несмотря на все трудности, создает праздничную атмосферу и организует веселый праздник буквально из ничего! Художник <a href=\"http://kidreader.ru/author/2518\">Владимир Сутеев</a> детально отобразил мельчайшие подробности мышиного быта и придал каждому члену мышиной семьи свой особый характер.\n<img src=\"/sites/default/files/noviy_god_cover.jpg\" width=\"190\" height=\"290\" />\nУ издательства «Речь» в серии «Любимая мамина книжка» стоит отметить сразу две книги волшебных сказок в мягкой обложке, обе с красочными акварельными иллюстрациями непревзойденной <a href=\"http://kidreader.ru/author/2376\">Нины Носкович</a>.\n<img src=\"/sites/default/files/morozko_cover.jpg\" width=\"190\" height=\"247\" />\nСказка «<a href=\"http://www.labirint.ru/books/439081/?p=4837\">Морозко</a>» превозносит доброту над злостью и коварством и остается одной из самых известных и любимых русских народных сказок, а карельская народная сказка «<a href=\"http://www.labirint.ru/books/439079/?p=4837\">Пряхи у проруби</a>», которая по сюжету во многом напоминает русское «Морозко» и немецкую «Госпожу Метелицу», насыщена национальным колоритом.\n<img src=\"/sites/default/files/pryahi_cover.jpg\" width=\"190\" height=\"248\" />\nСказки <a href=\"http://kidreader.ru/author/31\">Андерсена</a> читают дети каждого поколения во всем мире. Его «<a href=\"http://www.ozon.ru/context/detail/id/28472748/?partner=kidreader\">Дикие лебеди</a>» (издательство «Рипол Классик») — прекрасная волшебная сказка о принцессе Элизе и одиннадцати ее заколдованных братьях-лебедях — заиграла новыми (а точнее — хорошо забытыми старыми) красками на иллюстрациях Эрика Булатова и Олега Васильева, художников мирового масштаба.\n<img src=\"/sites/default/files/dikie_cover.jpg\" width=\"190\" height=\"251\" />\nОригинальный ход сделало издательство «Мелик-Пашаев» и выпустило книгу «<a href=\"http://kidreader.ru/book/2462\">Кукольный театр</a>», которая поможет организовать семейный досуг и раскрыть творческие способности как детей, так и их родителей. Оказывается, устроить самый настоящий театр у себя дома — проще простого, понадобятся только предметы домашнего обихода, которые есть под рукой!\n<img src=\"/sites/default/files/teatr-cover_0.jpg\" width=\"190\" height=\"156\" />\nГолландский сборник стихотворений «<a href=\"http://www.labirint.ru/books/428473/?p=4837\">Всех любимей — ты!</a>» как нельзя лучше передает детскую непосредственность, от перевода стихи ничуть не потеряли, а, может, даже и приобрели, ведь на русский их переводили <a href=\"http://kidreader.ru/author/850\">Михаил Яснов</a> и Ирина Михайлова. Они о подсолнушном море, о невесомости и таинственности облаков, о том, что происходит во сне и о самых нужных словах. Было бы несправедливо обойти стороной иллюстрации художницы Марит Торнквист, которая стала лауреатом премии «Серебряный грифель».\n<img src=\"/sites/default/files/vseh_cover.jpg\" width=\"190\" height=\"190\" />\nСказки <a href=\"http://kidreader.ru/author/518\">братьев Гримм</a> не устаревают и будоражат детское воображение уже 200 лет! Издательство «Рипол Классик» выпустило сразу две сказки под одной обложкой: «<a href=\"http://www.ozon.ru/context/detail/id/28472754/?partner=kidreader\">Белоснежка и Розочка</a>» и «Гензель и Гретель».\n<img src=\"/sites/default/files/belosnezhka_cover.jpg\" width=\"190\" height=\"252\" />\nВсе дети любят сюрпризы и подарки. Девочка Ника из книги «<a href=\"http://kidreader.ru/book/2474\">Волшебный зоопарк</a>» (издательство «Фома») не исключение. Поэтому, когда ей неожиданно приходит посылка, полная маленьких, но совершенно точно настоящих зверей из дядиного зоопарка, ее счастье не знает границ. Но ведь животные не могут так просто жить в квартире! Поэтому Нике предстоит придумать острова для птиц, реку для бегемотов, джунгли для обезьян и даже бассейн с подогревом для пингвинов. Нежные, трогательные и по-настоящему волшебные иллюстрации украинской художницы <a href=\"http://kidreader.ru/author/834\">Галины Зинько</a> создают невероятную сказочную атмосферу и буквально завораживают своей красотой.\n<img src=\"/sites/default/files/zoo-m.jpg\" width=\"190\" height=\"242\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:67a7fa4fdefc634383f287cc606e8cf2' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Какое же лето без книги Астрид Линдгрен? Особенным летним настроением отличаются истории про мальчика Калле, который мечтает стать выдающимся сыщиком, не уступающим ни Шерлоку Холмсу, ни Эркюлю Пуаро. В книге «<a href=\"http://www.labirint.ru/books/444462/?p=4837\">Знаменитый сыщик Калле Блумквист играет</a>» (издательство «Махаон») неразлучной троице Калле, Андерсу и Еве Лотте предстоит поймать настоящего преступника, который скрывается в их маленьком провинциальном городке от правосудия и своих сообщников. Интригующее повествование, летнее настроение и увлекательные приключения гарантированы.\n<img src=\"/sites/default/files/kalle_cover.jpg\" width=\"190\" height=\"240\" />\nУ Франца (героя рассказов Кристине Нестлингер) сейчас как раз тоже каникулы. Он уже закончил первый класс, но эту радость омрачил тот факт, что присматривать за ним все лето некому, а значит — Францу предстоит поездка в детский лагерь. В новой книге «<a href=\"http://www.labirint.ru/books/431269/?p=4837\">Рассказы про Франца и каникулы</a>» (издательство «КомпасГид») герою предстоит найти новых друзей, привыкнуть к тому, что в лагере все по расписанию, и провести долгое время вдали от родителей.\n<img src=\"/sites/default/files/Rasskazy%20pro%20Frantsa%20i%20kanikuli%20%285%29_cover.jpg\" width=\"190\" height=\"190\" />\nЛегкое и веселое настроение несет книга <a href=\"http://kidreader.ru/book/2452\">«</a><a href=\"http://kidreader.ru/book/2452\">Бабушка с крылышками</a>» Ивы Прохазковой (издательство «Поляндрия»). Элиас жаждет любви и понимания, но у его родителей не находится времени для ребенка. Тогда свершается чудо — из яйца, которое мальчик подобрал на улице, вылупилась самая настоящая бабушка… с крылышками! Бабушка Унду еще ничего не умеет, Элиас всему должен научить ее: разговаривать, читать, летать… Зато появление бабушки благотворно влияет на отношения героя с родителями, а это ли не главное!\n<img src=\"/sites/default/files/babushka_cover_0.jpg\" width=\"190\" height=\"290\" />\nЕсли вы (и ваши дети, конечно!) любите смешные книги о серьезных вещах, то «<a href=\"http://www.labirint.ru/books/411271/?p=4837\">Мальчик в платье</a>» знаменитого комика Дэвида Уэльямса (издательство «Клевер») займет почетное место на вашей книжной полке. Главный герой Деннис буквально бредит театром и любит все, что с ним связано. Он носит женские платья и парики… Конечно, одноклассники дразнят его на все лады и не проявляют ни капли понимания, но это не мешает Деннису искать себя и самовыражаться. Иллюстрации непревзойденного мастера иллюстрации Квентина Блейка окончательно убедят вас в том, что книга стоящая.\n<img src=\"/sites/default/files/malchik_cover.jpg\" width=\"190\" height=\"311\" />\nМаленькие дети — такие фантазеры, что взрослым остается только удивляться. Вот и Приска — героиня книги Бьянки Питцорно «<a href=\"http://www.labirint.ru/books/425442/?p=4837\">Когда мы были маленькими</a>» (издательство «Самокат») — вообразила, что родилась еще до Потопа, что раньше умела летать, а ее подружку Элизу однажды выиграли в шахматном турнире! Читателям только и остается, что погрузиться в мир детских фантазий и… придумать свои.\n<img src=\"/sites/default/files/kogda%20mi%20bili_cover.jpg\" width=\"190\" height=\"279\" />\nПодростки – любители фантастики не оставят без внимания роман Мервина Пика «<a href=\"http://kidreader.ru/book/2240\">Титус Гроан</a>» (издательство «Livebook/Гаятри») — первый роман трилогии о замке Горменгаст. Мистический реализм разворачивается в романе во всей красе: безмолвный старый замок и все его ужасные обитатели живут по своим законам и традициям, но с рождением Титуса идиллия нарушена, наступает время перемен.\n<img src=\"/sites/default/files/groan_cover_0.jpg\" width=\"190\" height=\"290\" />\nФантастические произведения Кира Булычева во все времена находят своих читателей. Повесть «<a href=\"http://kidreader.ru/book/2442\">Сто лет тому вперед</a>» (Издательский Дом Мещерякова) про Алису Селезневу, которая потеряла изобретение будущего, читающее мысли, и ее необыкновенные путешествия во времени — самая динамичная, самая приключенческая из всех. Три Коли, среди которых только один может помочь. Космические пираты, которые неизменно идут по следу. И, конечно, счастливый финал!\n<img src=\"/sites/default/files/Bulychev_sto-let-tomu-vpered_COVER_0.jpg\" width=\"150\" height=\"230\" />\nЕще одна книга, полная увлекательных приключений — «<a href=\"http://kidreader.ru/book/2478\">Ванго</a>» Тимоте де Фомбеля (издательства «Самокат» и «КомпасГид»). Герой ничего не знает о себе и своем происхождении, знает только, что был таинственным образом найден на Эоловых островах. В поисках ответа Ванго отправляется в опасное путешествие.\n<img src=\"/sites/default/files/vango-500x500.jpg\" width=\"190\" height=\"190\" />\nПодросткам, которые ищут себя и не находят, светом в конце тоннеля покажется жизнеутверждающая книга, проникнутая подростковым мировосприятием — «<a href=\"http://www.labirint.ru/books/417085/?p=4837\">Революция</a>» Дженнифер Доннелли (издательство «Розовый жираф»). В семье Анди несчастья следуют одно за другим: умер брат, родители развелись, из школы вот-вот выгонят. Когда отец организовал для Анди поездку в Париж, она и не надеялась, что это как-то изменит ее жизнь к лучшему. Но во время поездки в руки девушки случайно попадает дневник из прошлого — дневник девушки Александрины, который велся во времена Французской революции. Анди погружается в мир предательства и дворцовых интриг, в мир, где мечты о свободе идут рука об руку с кровопролитием. Благодаря этому дневнику героиня сможет разобраться в себе и измениться.\n<img src=\"/sites/default/files/revolutsiya_cover.jpg\" width=\"190\" height=\"270\" />\nЧто бы вы сделали, если бы вдруг узнали, что русалки существуют? Девочка Алиса из книги «<a href=\"%20http://www.labirint.ru/books/430598/?p=4837\">История Алисы Джекинс</a>» (издательство «Клевер») стала свидетельницей того, как ученые поймали русалку, самую что ни на есть настоящую. И для Алисы стало очевидно, что нужно эту русалку немедленно спасать, ведь на суше она не выживет. Героиня, не теряя времени, отправляется в морское царство за подмогой… Это увлекательная, по-настоящему летняя сказка, в которой добро, дружба и справедливость торжествуют. Примечательно, что историю написала 15-летняя школьница Саша Шевченко.\n <img src=\"/sites/default/files/istoriya%20alisi_cover.jpg\" width=\"190\" height=\"225\" />\nИрина Эдлина, специально для сайта <a href=\"http://kidreader.ru\">Kidreader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:de90dd7c6ffeaaddcfd6892be80c6255' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Для тех, кто любит совмещать приятное с полезным, издательство «Карьера-пресс» выпустило книгу «<a href=\"http://www.labirint.ru/books/431600/%20?p=4837\">Пять лепестков и миллиард звезд</a>» Анн-Софи Боманн и Анн-Лиз Бутан. Эта книжка-картинка примечательна тем, что не только доставляет эстетическое удовольствие красотой своих иллюстраций, посвященных природе, но и в игровой форме учит детей счету, а еще, конечно, развивает наблюдательность.\n<img src=\"/sites/default/files/pyat%20lepestkov_cover.jpg\" width=\"190\" height=\"194\" />\nДружба не знает границ, и издательство «Поляндрия» своей новой книжкой-картинкой «<a href=\"http://www.labirint.ru/books/431813/?p=4837\">На разных концах земли</a>» напоминает об этом своим читателям. Нежный акварельный мир, который создает иллюстратор Фрейя Блэквуд на каждой странице книги, очаровывает и притягивает, передает атмосферу беззаветной детской дружбы. Книга получила Серебряную Медаль фонда «Выбор родителей» (США) и была признана лучшей книгой года для малышей по версии Совета по детской книге Австралии (2007).\n<img src=\"/sites/default/files/na%20razhih_cover.jpg\" width=\"190\" height=\"195\" />\nКнига «<a href=\"http://kidreader.ru/book/2148\">Мышкин дом</a>» (Энас-книга) японской писательницы и иллюстратора Чисато Таширо пробуждает детскую фантазию и учит любви к окружающему миру. Пятеро мышат, не похожих друг на друга ни внешне, ни по характеру решают объединиться, чтобы найти новое безопасное жилье. Но когда найти готовый дом героям не удается, трудолюбивые мышата проявляют всю свою изобретательность и строят жилище сами! Веселые цветные иллюстрации позволят детям оценить результат проделанной работы.\n<img src=\"/sites/default/files/mishkin%20dom_cover_0.jpg\" width=\"190\" height=\"290\" />\nДля тех, кому нравится удивляться, издательство «Манн, Иванов и Фербер» выпустило не просто книжку-картинку, а книжку-загадку «<a href=\"http://kidreader.ru/book/2346\">Жиневоты</a>». Сложная конструкция книги скрывает за клапанами и окошками различных животных, а догадаться, изображение какого именно животного там спрятано, дети смогут по специальным подсказкам, на которых нарисованы звериные шкуры, хвосты, а иногда даже следы. Эта красивая и развивающая книга подойдет детям от года, которые только начинают свое знакомство с книгами!\n<img src=\"/sites/default/files/ginevoti_cover.jpg\" width=\"190\" height=\"254\" />\nФильм  и мультфильм «<a href=\"http://kidreader.ru/book/2193\">Джуманджи</a>» об игре, которая превращает жизнь двух детей в бешеные приключения, знакомы многим, но лишь немногие знают, что эту удивительную историю сначала написал и нарисовал американский писатель и иллюстратор Крис Ван Олсбург. Издательство «Карьера-пресс» впервые выпустило эту нашумевшую книгу на русском языке. Черно-белые  иллюстрации выглядят настолько правдоподобно, что производят удивительное впечатление реальности происходящего.\n<img src=\"/sites/default/files/dzhumandzhi_cover_0.jpg\" width=\"190\" height=\"181\" />\nЧудесную добрую книжку-картинку о любви и дружбе, разлуках и встречах, сомнениях и надежде выпустило издательство «Энас-книга». «<a href=\"http://kidreader.ru/book/2283\">Фред и Анабель. История одной любви</a>» — это трогательная книга, в которой кот Фред и гусыня Анабель, разлученные обстоятельствами, все же дожидаются своей встречи, а впереди у них — долгое и счастливое лето. Лена Гессе создала для «Фреда и Анабель» эмоциональные и завораживающие цветные иллюстрации, выполненные в необычной технике.\n<img src=\"/sites/default/files/fred_cover1_0.jpg\" width=\"190\" height=\"290\" />\nЕще одна трогательная история о дружбе, вышедшая в этом же издательстве, написана и проиллюстрирована Павлом Чехом. «<a href=\"http://www.labirint.ru/books/421074/?p=4837\">Сэнди и деревянная кукушка</a>» — это книга, в которой паучок познакомился с обитательницей настенных часов, но, конечно, больше всего издание привлекает яркими, запоминающимися авторскими иллюстрациями.\n<img src=\"/sites/default/files/Sandy_cover.jpg\" width=\"190\" height=\"250\" />\nХорошо, когда детская книга не только привлекательная, но еще и познавательная, причем все ценные знание ребенок получает в увлекательной форме, а значит — сможет лучше запомнить новую информацию. Издательство «Самокат» пошло как раз по такому пути и выпустило книгу «<a href=\"http://kidreader.ru/book/1766\">Карты</a>» польских художников Александры и Даниэля Мизелиньских. «Карты» содержат 4000 картинок, которые рассказывают о 41 стране мира! Причем это не набор классических сведений, о которых скучно читать, ведь везде одно и то же, а необычная информация: какими видами спорта увлекаются в той или иной стране, какие имена наиболее распространены, какие существуют национальные традиции. В 2013 году это издание было отмечено премией Андерсена и премией Сорсьера.\n<img src=\"/sites/default/files/karty_cover.jpg\" width=\"190\" height=\"258\" />\nЛюбители историй про чудаковатого старика Петсона и его котенка Финдуса наконец-то смогут узнать, почему у Финдуса такое странное имя и в чем причина того, что он носит полосатые штаны. Издательство «Белая ворона» выпустило новую книгу Свена Нурдквиста «<a href=\"http://www.labirint.ru/books/424213/?p=4837\">История о том, как Финдус потерялся, когда был маленьким</a>».\n<img src=\"/sites/default/files/petson_cover.jpg\" width=\"190\" height=\"257\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nНастоящие ценители книг читают не только днем, ведь правда? Издательство «Карьера-пресс» выпустило специальную книжку-картинку для чтения детям на ночь. «<a href=\"http://www.labirint.ru/books/420166/?p=4837\">Чудный поезд мчится в сон</a>» — это книга убаюкивающих стихов о паровозе сновидений с умиротворяющими, спокойными иллюстрациями в приглушенных тонах, которые создал Том Лихтенхелд.\n<img src=\"/sites/default/files/chudniy%20poezd_cover.jpg\" />\nКнига «<a href=\"http://www.labirint.ru/games/416568/?p=4837\">Дом монстриков</a>» — это настоящий праздник детского воображения! Издательство «Клевер» выпустило книгу-путешествие по огромному дому, населенному маленькими, беззащитными монстриками, которым очень нужна детская помощь. Пассивное рассматривание красивых иллюстраций легко может перерасти в активные действия — можно придумать свое продолжение истории и даже поставить спектакль, ведь игрушки легко вынимаются из книги.\n<img src=\"/sites/default/files/dom%20monstrikov.jpg\" width=\"190\" height=\"255\" />\nО том, как трудно приходится новенькому в незнакомом коллективе, расскажет книжка-картинка «<a href=\"http://www.labirint.ru/books/428251/?p=4837\">Новенький</a>» (Энас-книга). Огромный и неуклюжий медвежонок Борис впервые оказывается в лесной школе и одним своим видом пугает ее обитателей. Но, как известно, внешность обманчива, и Борис раскрывается зверям с новой стороны — ведь он отзывчив, вежлив и добродушен. Иллюстрации Тима Уорнеса наглядно демонстрируют качества медвежонка во всей красе!\n<img src=\"/sites/default/files/novenkiy_cover.jpg\" />\nИрина Эдлина, специально для <a href=\"http://kidreader.ru/\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:13fb596724128b40f0345c8a9e51cf0d' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '<a href=\"http://kidreader.ru/\">КidReader.ru</a> представляет обзор лучших детских книг к празднику 8 марта.\nКак же в такой праздник обойтись без сладкого? Книга Анны Никольской «<a href=\"http://kidreader.ru/book/2225\">Кондитерские истории</a>» (издательство «Клевер») — тот самый десерт, который придется по вкусу маленьким читательницам. Ее герои — обитатели обыкновенной кондитерской: леденец, муха, торт и даже обыкновенная ватрушка. Но все они со своим характером, со своей историей, удивительно трогательные.\n <img src=\"/sites/default/files/kond_0.jpg\" width=\"190\" height=\"284\" />\nПро большую-маленькую девочку Женю в издательстве «КомпасГид» вышло уже четыре книги. Каждая книга — история из Жениной жизни: «Как приручить город», «Рецепт волшебного дня», «<a href=\"http://kidreader.ru/book/2189\">Вышел зайчик погулять</a>» и «Семь с половиной крокодильских улыбок». Придумала Женю и истории про нее Мария Бершадская, а нарисовала Александра Ивойлова.\n <img src=\"/sites/default/files/Bolshaya%20malenkaya%20devochka-3_cover_0.jpg\" width=\"190\" height=\"223\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nКнига Криса Хиггинса про беспокойную Матти и ее <a href=\"http://www.labirint.ru/books/427605/?p=4837\">веселую семейку</a> вышла в издательстве «Поляндрия». Семейство Баттерфильдов несколько бесшабашно — неудивительно, что их жизнь наполнена событиями. Впрочем, ничего необычного не происходит. Просто жизнь, просто истории, рассказанные Матти. Это первая книга историй из жизни семейства Баттерфильдов. Но, наверное, можно предполагать, что это начало новой замечательной книжной серии. Ведь еще не переведены «My Funny Family’s Got Talent» («Моя веселая семейка ищет таланты»), « My Funny Family On Holiday» («Моя веселая семейка на каникулах»), «My Funny Family Moves House»(«Моя веселая семейка переезжает») и « My Funny Family Gets Bigger» («Моя веселая семейка становится больше»).\n <img src=\"/sites/default/files/family_b.png\" width=\"190\" height=\"230\" />\nДевочкам-подросткам придется по душе история о том, как можно бороться с собственными страхами, достичь новых высот, став при этом буквально другим человеком! Джуди Блум, лауреат 90 литературных премий, написала продолжение «Питера обыкновенного» про его вредную, но при этом очень ранимую, закомплексованную подругу Шейлу. Настоящая и искренняя книга «<a href=\"http://www.labirint.ru/books/418587/?p=4837\">Шейла Великолепная</a>» (издательство «Розовый жираф») — действенное средство от детских фобий и глупых страхов.\n <img src=\"/sites/default/files/sheila.jpg\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nДля любительниц сказок как нельзя лучше подойдет книга Марины Бородицкой и Натальи Тумашковой «<a href=\"http://kidreader.ru/book/2103\">Телефонные сказки Маринды и Миранды</a>» (издательство «Самокат»). Две талантливые, но одинокие мамы находят для себя развлечение в том, чтобы сочинять сказки и рассказывать их друг другу по телефону, когда дети уже спят. Их озорные, романтичные, задушевные, а иногда совершенно бесшабашные сказки создают уютную волшебную атмосферу, а соответствующее сказочное настроение поддерживают иллюстрации Натальи Корсунской.\n <img src=\"/sites/default/files/Telefonnye_skazki_Marindy_i_Mirandy_s_0.jpg\" width=\"190\" height=\"298\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n«<a href=\"http://kidreader.ru/book/1928\">Пеппи Длинныйчулок</a>» Астрид Линдгрен читали многие поколения девчонок по всему миру, но издательство «Махаон» сделало главную героиню Пеппи более современной, выпустив ее в новом иллюстративном наполнении. Книгу иллюстрировал молодой украинский художник Арсен Джаникьян, и благодаря его ярким, динамичным, остроумным иллюстрациям «Пеппи» заиграла новыми красками!\n <img src=\"/sites/default/files/peppi.jpg\" width=\"190\" height=\"258\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nНеобычным сочетанием авторской и художественной работы порадует маленьких читательниц книга «<a href=\"http://kidreader.ru/book/2133\">В яблочко!</a>» (издательство «Оникс ЛИТ»). Обиженная на бабушку девочка Саша чудесным образом попадает внутрь яблока, вот тут и начинается самая настоящая сказка! Красочные, эмоциональные полностраничные иллюстрации Александры Ивойловой занимают центральное место в книге  — ведь на самом-то деле текст Анны Никольской и Игоря Шевчука был придуман уже после того, как были созданы эти иллюстрации.\n <img src=\"/sites/default/files/apple_cover_0.jpg\" width=\"190\" height=\"196\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nПробуждает воображение добрая и трогательная история «<a href=\"http://kidreader.ru/book/2235\">Звучание цвета</a>» о слепой девочке, которая потеряла зрение, но не впала в отчаяние, написанная и нарисованная китайским художником Джимми Лиао (издательство «Манн, Иванов и Фербер»). Эта книга подойдет тем, кто не только ищет глубокий смысл в детских книгах, но и придает большое значение иллюстрациям, ведь иллюстрации Джимми Лиао насыщены жизнью, цветом и радостью, а главное — они по-новому, глубже раскрывают смысл истории.\n <img src=\"/sites/default/files/zvuchanie_zveta_3d_800_0.jpg\" width=\"190\" height=\"251\" />\nПраздничное весеннее настроение создаст веселая книга забавных рассказов девочки Вали о ее невероятных приключениях, которые произошли с ней и ее друзьями на каникулах (книга «<a href=\"http://kidreader.ru/book/2050\">Записки для моих потомков</a>» издательства «Фома»). Валя совершает поход в таинственный Синий лес, ей предстоит встреча с драконом и поиск таинственных сокровищ — неудивительно, что описание таких событий стоит оставить для потомков, пусть потом удивляются! Автора книги, Ариадну Борисову, лауреата премии «Золотое перо», даже сравнивают со знаменитой Астрид Линдгрен.\n<img src=\"/sites/default/files/Zapiski_cover_0_0.jpg\" width=\"190\" height=\"247\" />\nВозможно, праздник восьмое марта — это еще один повод признаться близкому человеку в любви и установить с дочерью более доверительные отношения. Для такой цели прекрасно подойдет нестандартная новинка «<a href=\"http://www.labirint.ru/books/417360/?p=4837\">Всегда рядом</a>» (издательство «Livebook»). «Всегда рядом» — это графическая новелла о свете и темноте, о любви и разочаровании, надежде и сомнениях, обо всех человеческих чувствах… Главный герой книги — маленький ангел, который идет сквозь город в поисках тепла. Принято считать, что ангелы охраняют и спасают людей, но иногда помощь требуется и самим ангелам. Книга наполнена иллюстрациями, которые выполнены в стиле кадров домашней кинохроники, — уютными, трогательными, эмоциональными, близкими каждому.\n<img src=\"/sites/default/files/vsegda%20ryadom.jpg\" width=\"190\" height=\"250\" />\nДля маленьких девочек, которые продолжают верить в чудеса, выпущена красивая сказочная повесть «<a href=\"http://kidreader.ru/book/1909\">Пчелка</a>» (издательство «Росмэн») о юном графе Жорже и его названной сестре. Любопытные герои убежали из дома и оказались в царстве гномов и ундин, вот тут для них и начались настоящие трудности и испытания. Но все, конечно, заканчивается хорошо, как в волшебной сказке, — Пчелка и Жорж возвращаются на землю, сохранив друг к другу нежную привязанность. По-настоящему сказочные иллюстрации Ольги Ионайтис позволяют взглянуть на сказку изнутри глазами ребенка.\n<img src=\"/sites/default/files/pchelka.jpg\" width=\"190\" height=\"253\" />\n«Меня зовут Виолетта Потс. История, которую я хочу вам поведать, начинается в очень важный для меня день. Я бы даже сказала ВЕЛИКИЙ день. По крайней мере, я надеялась, что этот день станет для меня великим… Я пыталась измерить свой рост…» — не правда ли, интригующее начало? И что же случилось с Виолеттой Потс? Виолетта уменьшилась! Да так, что даже дождевой червяк теперь кажется огромной змеей. Каково это — стать очень маленькой? Как выглядит мир, если смотреть на него несколько иначе? Об этом в книге Лу Кюнцлера «<a href=\"http://www.labirint.ru/books/427603/?p=4837\">Виолетта исчезающая</a>» (издательство «Поляндрия»).\n<img src=\"/sites/default/files/violetta_b.png\" width=\"190\" height=\"228\" />\n«<a href=\"http://kidreader.ru/book/2187\">Фрося Коровина</a>» (издательство «Клевер») из книги Станислава Востокова — настоящая деревенская баба. Она умеет копать, поливать, давать отпор пьянице Никанору... И заботы у нее подчас не такие, как у обычной девчонки: не о новых нарядах и компьютерных играх, а о том, как добраться до города в снегопад, как управиться одной с хозяйством, если бабушка в больнице.\n <img src=\"/sites/default/files/Frosya_0.jpg\" width=\"190\" height=\"291\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВ конце нашего обзора мы все же не можем не упомянуть два переиздания классики детской литературы, которые должны быть в домашней библиотеке каждой девочки.\nВсе маленькие девочки мечтают быть похожими на Золушку из сказки Шарля Перро и выйти замуж за прекрасного принца. Издательство «Мелик-Пашаев» выпустило <a href=\"http://www.labirint.ru/books/420575/?p=4837\">«Золушку»</a> с нарядными иллюстрациями Владимира Конашевича, которому удалось удивительно точно передать все волшебные детали сказки.\n <img src=\"/sites/default/files/zolushka_cover.jpg\" width=\"190\" height=\"246\" />\nСмешной и при этом поучительный рассказ Леонида Пантлеева <a href=\"http://www.labirint.ru/books/382795/?p=4837\">«Большая стирка»</a> неизменно пробуждает в детях добрые чувства. Тамарочка и Белочка проливают чернила на белую скатерть и пытаются скрыть последствия своего проступка, но неудачно... Художник Алексей Пахомов частично срисовал героинь рассказа со своих дочерей.\n<img src=\"/sites/default/files/bolshaya_stirka_cover.jpg\" width=\"190\" height=\"248\" />\nОбзор подготовлен Ириной Лисовой и Ириной Эдлиной специально для <a href=\"http://kidreader.ru/\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:57f07cc0c59e7cb04b970a514d2afaf5' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Героем на все времена, символом отваги и мужества с незапамятных времен стал король Артур. Сколько поколений мальчишек зачитывалось легендами о рыцарях Круглого стола, о волшебнике Мерлине, красавице Изольде, мече Эскалибуре и славном городе Камелоте. Издательство Рипол-Классик выпустило книгу Джона Мэтьюза «<a href=\"http://kidreader.ru/book/2206\">Легенда о короле Артуре»</a> в переводе Григория Кружкова. Хорошо знакомые легенды переложены специально для младших школьников. Так же к историям прилагаются карта «Королевства Артура» и грамота «Ритуал посвящения в рыцари».\n<img src=\"/sites/default/files/Artur_cover.jpg\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nЕщё одна легенда о дружбе и смелости пришла из Шотландии. Издательство «Азбука» выпустило новинку в серии «Герои сказочной страны» — «<a href=\"http://www.labirint.ru/books/417009/?p=4837\">Рыцарь-эльф</a>». Таинственные вересковые пустоши, окутанные туманом. Место там только для диких зверей и ужасного рыцаря-эльфа. Людям туда путь заказан. Перейдешь границу и окажешься в плену у страшного рыцаря.  И только настоящая дружба, непоколебимое мужество и помощь волшебного амулета могут разрушить злые чары.\n<img src=\"/sites/default/files/elf.jpg\" width=\"190\" height=\"238\" />\n«<a href=\"http://kidreader.ru/book/2043\">Волшебные сказки индейцев</a>» издательства Рипол-Классик, это тоже, конечно, дань традиции. Если ты мальчик, то ты просто обязан индейцами интересоваться. Хотя у многих современных мальчишек интерес к коренным жителям Америки несколько угас. Его больше не подогревают вестерны и книги о приключениях на Диком Западе. Но кто сказал, что знакомство со сказками древних самобытных народов, некогда населявших Америку, не сумеет его снова возродить.\n<img src=\"/sites/default/files/volshebnie_cover.jpg\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nОчень приятно, что появляются чудесные книги для дошкольников современных российских авторов. Книга молодой писательницы Анны Анисимовой с иллюстрациями Елизаветы Бухаловой станет настоящим подарком для самых юных защитников. «<a href=\"http://www.labirint.ru/books/422370/?p=4837\">Капитаны детского сада</a>» — это сборник коротких рассказов о жизни детсадовцев. Написаны рассказы с необыкновенной нежностью и любовь к малышам. И в то же время без всякого сюсюканья, в которое так опасно бывает скатиться, когда пишешь для этого возраста.\n<img src=\"/sites/default/files/kapitani.jpg\" width=\"190\" height=\"246\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n «<a href=\"http://kidreader.ru/book/2140\">13-этажный дом на дереве</a>» — веселая книжка о доме мечты очень многих мальчишек. Тут тебе и таинственная лаборатория, и кровати сами заправляются, и зефирная машина, и самый настоящий бассейн и множество забавных приключений. Такой чудесный подарок приготовило для маленьких читателей издательство <a href=\"http://www.ozon.ru/brand/2997616/\" title=\"Гаятри/Livebook\">Гаятри/Livebook</a>.\n<img src=\"/sites/default/files/na%20dereve_cover_0.jpg\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nНастоящий мужчина, пусть и маленький, должен быть не просто ловким, смелым, сильным, но еще, конечно, умелым. И тут на помощь придет серия книг издательства «Мелик-Пашаев» — «<a href=\"http://www.labirint.ru/series/27019/?p=4837\">Мулле Мек — умелый человек</a>» Георга Юхансона. Муле Мек строит дом, лодку, самолет и вообще много чего умеет. А вместе с ним в незатейливой игровой форме учится и маленький читатель. Истории о мастере Мулле и его собаке Буффе пользуются огромной популярностью в Скандинавии вот уже на протяжении двух десятилетий, а самого Мулле любят не меньше, чем известных героев сказок.\n<img src=\"/sites/default/files/mulle.jpg\" width=\"190\" height=\"249\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВ издательстве КомпасГид выходит уже третья книга классика австрийской детской литературы Кристине Нёстлингер. Не смотря на то, что рассказы написаны давно — они до сих пор остаются актуальными. Если в первых двух книгах «<a href=\"http://kidreader.ru/book/1480\">Рассказы про Франца</a>» и «Новые рассказы про Франца» мы погружались в мир шестилетнего дошкольника, то в новой книге Франц подрастает. Ему уже семь и он, наконец-то, идет в школу. Новая книга так и называется «<a href=\"http://www.labirint.ru/books/424344/?p=4837\">Рассказы про Франца и школу</a>».\n<img src=\"/sites/default/files/Rasskazy%20pro%20Frantsa%20i%20shkolu%20%283%29_cover.jpg\" width=\"190\" height=\"224\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nЕще одна новинка от издательства КомпасГид — «<a href=\"http://www.labirint.ru/books/416171/?p=4837\">Враг</a>» итальянского писателя Давида Кали и французского иллюстратора Сержа Блока. Два одинаковых солдата враждующих армий сидят в симметричных окопах и думают, какой ужасный и жестокий у них Враг. А когда решают, что пора бы эту войну прекратить, попадают в окопы друг друга и видят, что они одинаковые. У каждого есть семья, оба они человечны. Они похожи друг на друга вплоть до витаминных батончиков и методичек, где написано, какой ужасный у них Враг. Эта книжка-картинка может стать основой для серьезного разговора с ребенком и поможет наполнить новыми смыслами такие слова как «война», «враг».\n<img src=\"/sites/default/files/Vrag_cover-350x350.jpg\" width=\"190\" height=\"190\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nСерию <a href=\"http://kidreader.ru/book/2209\">БИСС</a> ИД Мещерякова можно рекомендовать всю. Ведь книги В. П. Крапивина бесспорно прошли испытание временем. Смелые и отважные мальчишки, настоящие рыцари без страха и упрека. Надо ли победить зло или сразиться мерзостями обычной жизни — «крапивинским» мальчишкам все по плечу.\n<img src=\"/sites/default/files/golubyatnya_cover_0.jpg\" width=\"190\" height=\"255\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nЕсли книги В. П. Крапивина — это признанная классика детской литературы, то повесть Светланы Сороки <a href=\"http://www.labirint.ru/books/426372/?p=4837\">«Отъявленный хулиган»</a> проверку временем еще не прошла. Но думаю, она станет полезной и поможет многим мальчишкам, попавшим такую же не простую историю, как главный герой Ванька Шишкин, который на самом-то деле никаким хулиганом и не был. Просто взрослые часто бывают несправедливы в своих суждениях и в своей привычке навешивать ярлыки. Книга вышла в издательстве «Аквилегия-М», для читателей старше 12 лет.\n<img src=\"/sites/default/files/huligan.jpg\" width=\"190\" height=\"293\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nИрина Лисова, специально для <a href=\"http://kidreader.ru/\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:0686733c8f51856f81fb47e965beb4b3' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Предлагаем вашему вниманию обзор лучших иллюстрированных изданий зарубежных писателей, выпущенных в России в 2013 году.\n1. <a href=\"http://kidreader.ru/book/1879\">«Э</a><a href=\"http://kidreader.ru/book/1879\">лмер»</a> (авт. Дэвид МакКи), изд-во «Самокат»\n <img src=\"/sites/default/files/Elmer_cover_1_0.jpg\" width=\"190\" height=\"289\" style=\"font-size: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: 1.4em; display: block; margin-left: auto; margin-right: auto;\" />Британский сказочник-иллюстратор Дэвид МакКи написал и проиллюстрировал несколько увлекательных и поучительных историй из жизни разноцветного слона Элмера. Элмер — это необычный слон. Помимо его нестандартного для слонов окраса в клеточку, он отличается еще и искрометным юмором, с ним никогда не бывает скучно. Эта книга рассказывает о веселых приключениях Элмера, о дружбе и радости, учит быть самим собой и всегда находить в жизни что-то позитивное.\n2. <a href=\"http://www.labirint.ru/books/377105/%20?p=4837\">«У</a><a href=\"http://www.labirint.ru/books/377105/%20?p=4837\">нди</a><a href=\"http://www.labirint.ru/books/377105/%20?p=4837\">на»</a> (авт. Бенжамен Лакомб), изд-во «Махаон»\n<img src=\"/sites/default/files/undina.jpg\" width=\"190\" height=\"231\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n«Ундина» — это новая книга молодого, но уже широко известного французского иллюстратора Бенжамена Лакомба, в основе которой лежит полная драматизма романтическая история любви главной героини. Нежные иллюстрации Лакомба уводят читателей от реальности и проводят в какой-то другой, сказочный и удивительный потусторонний мир.\n3. <a href=\"http://www.labirint.ru/books/419153/?p=4837\">«Переполох в огороде»</a> (авт. Свен Нурдквист), изд-во «Белая ворона»\n<img src=\"/sites/default/files/perepoloh_cover.jpg\" width=\"190\" height=\"258\" />\nСреди всех историй о старом фермере Петсоне и его котенке Финдусе «Переполох в огороде» выделяется особо, ведь эта история — настоящий детектив. Одним весенним утром герои высадили в огороде овощи и тефтельки. Но уже на следующее утро все было перерыто, овощные грядки затоптаны, а картошка и тефтелька украдены. Под подозрением у Петсона и Финдуса не в меру активные курицы, корова, коза, лось и даже сосед Густавсон. Особую роль в книге играют авторские иллюстрации. Они не просто повторяют сюжет, но и дополняют его новыми интересными подробностями.\n4. <a href=\"http://kidreader.ru/book/1480\">«Рассказы про Франца»</a> (авт. Кристине Нёстлингер), изд-во «КомпасГид»\n<img src=\"/sites/default/files/Nostlinger_cover-350x350_0.jpg\" width=\"190\" height=\"290\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nГерой книги — шестилетний мальчик, обладатель красивых белокурых локонов и васильковых глаз. Из-за ангельской внешности Франца частенько принимают за девочку. Эта книга о том, как герой справляется со своими переживаниями, о том, как самые заурядные бытовые ситуации могут стать по-настоящему драматичными для ребенка. «Рассказы про Франца» подойдут тем детям, которые только начинают читать самостоятельно. Книгу проиллюстрировала Катя Толстая.\n5. <a href=\"http://kidreader.ru/book/1945\">«Черный пес»</a> (авт. Леви Пинфолд), изд-во «Поляндрия»\n<img src=\"/sites/default/files/cherniy%20pes_cover%20-%20%D0%BA%D0%BE%D0%BF%D0%B8%D1%8F.jpg\" width=\"190\" height=\"257\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nМолодой талантливый писатель и иллюстратор Леви Пинфолд порадовал малышей доброй книгой о том, как много могут маленькие дети, и о том, как часто взрослые испытывают беспочвенный страх. В этой истории незамутненный детский взгляд и наивное доверие к миру в очередной раз совершили чудо. Красочные и реалистичные иллюстрации Пинфолда дают объем и новое пространство для понимания текста, насыщают его особой атмосферой.\n6. <a href=\"http://kidreader.ru/book/754\">«Кривуля»</a> (авт. Фрид Ингульстад), изд-во «Мелик-Пашаев»\n<img src=\"/sites/default/files/cover_krivulia_0.jpg\" width=\"190\" height=\"290\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n«Кривуля» — это добрая скандинавская сказка о маленьком троллике. Кривуля сбегает от своих сородичей и поселяется в сундуке у норвежских гномов. Но ночам Кривуля вылезает из своего убежища и помогает мастерить рождественские подарки для детей. Здесь нет острых проблем, душераздирающих конфликтов и нелицеприятных подробностей, а главное — маленьких читателей обязательно порадует счастливый конец! На реалистичных иллюстрациях Валентина Ольшванга Кривуля буквально оживает.\n7. <a href=\"http://kidreader.ru/book/2073\">«Кот-убийца и Рождество»</a> (авт. Энн Файн), изд-во «Самокат»\n<img src=\"/sites/default/files/Kot_cover_0.jpg\" width=\"190\" height=\"266\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВ 2013 году вышла новая история о коте Таффи. В пятой по счету книге об удивительном коте-писателе главному герою предстоит побороть множество искушений, ведь на рождественскую елку забираться запрещено, елочные игрушки постоянно попадаются на глаза и провоцируют героя на шалости, к тому же на праздник приехала целая толпа родственников Элли… Конечно, Таффи и в этот раз приносит в дом разрушение и хаос. Как и в предыдущих книгах о Таффи, забавные иллюстрации и необычный рисованный шрифт для названий глав создала Екатерина Андреева.\n8. <a href=\"http://www.labirint.ru/books/410082/?p=4837\">«Гений и Макс»</a> (авт. Дэвид Уиснер), изд-во «Розовый жираф»\n<img src=\"/sites/default/files/genii%20i%20maks.jpg\" width=\"190\" height=\"159\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n«Гений и Макс» — это забавная книжка-картинка Дэвида Уиснера, автора знаменитых на весь мир книжек-картинок Tuesday, Flotsam, The Three Pigs. Главный герой книги — жабовидная игуана Евгений, которая к тому же еще и состоявшийся гениальный художник. У Евгения есть друг Макс, он тоже игуана,  только ошейниковая. Однажды Макс решил пойти по стопам друга и возомнил себя художником… Главная особенность книги — это, бесспорно, иллюстрации. Художник работал над ними несколько лет, прорабатывая каждую линию и деталь, чтобы герои были изображены максимально реалистично.\n9. <a href=\"http://kidreader.ru/book/1441\">«Нетерпеливые истории»</a> (авт. Бернар Фрио), изд-во «КомпасГид»\n<img src=\"/sites/default/files/Frio_Neterpelivie%20istorii_0.jpg\" width=\"190\" height=\"290\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nКак известно, все дети до ужаса нетерпеливы. Бернар Фрио учел это при написании своих удивительных «Нетерпеливых историй». В этой книге жизнь описана такой, какой ее видят дети: в сахарнице легко можно встретить змею, а в отделе бытовой техники любого магазина наверняка можно найти настоящего заколдованного принца, который выглядит как обыкновенный утюг. Дополняют рассказы ироничные зарисовки Леонида Шмелькова.\n10. <a href=\"http://www.labirint.ru/books/416203/?p=4837\">«Встреча»</a> (авт. Рози Лэм), изд-во «Поляндрия»\n<img src=\"/sites/default/files/vstrecha.png\" width=\"190\" height=\"221\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nФранцузский скульптор и художница Рози Лэм дебютировала как детский писатель с книгой «Встреча». Это красивая и смешная сказка про рыбку Пола, которая благодаря обретенному другу смогла увидеть мир другими глазами. Раньше Пол то и дело нарезал большие и маленькие круги по своему аквариуму, но однажды Бернадетта показала ему, как много прекрасного есть за стенками аквариума — и все это можно увидеть сквозь стекло! Так, Пол увидел очки. Они показались ему прекрасной бабочкой с крыльями в черепаховой оправе, а чайник показался ему синим слоном с изящным хоботом… Яркие, запоминающиеся иллюстрации Лэм — это ода воображению, они показывают, как может измениться жизнь любого из нас.\nС наилучшими пожеланиями, редакция <a href=\"http://kidreader.ru/\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:959b7b519623d7e03f99f12c05b331d9' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Этот, 2013 год, был очень плодотворным для издательств, выпускающих детскую литературу, но некоторые детские книги, выпущенные в этом году, хочется отметить особо. Редакция сайта Kidreader составила рейтинг самых значимых, долгожданных, красивых, ценных и полезных изданий для детей, разделив их по рубрикам.\n \nЛучшее переиздание\n<a href=\"http://kidreader.ru/book/1735\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/amur_tales_cover.jpg\" width=\"131\" height=\"200\" style=\"margin: 10px; float: left;\" />Амурские сказки</a> (Речь)\nКнига Д. Д. Нагишкина «Амурские сказки» не издавалась с советских времен, поэтому переиздание «Амурских сказок» с красочными иллюстрациями Г. Д. Повалишина, наполненными этническим колоритом, можно считать по-настоящему долгожданным, а оттого — особенно ценным для российских читателей.\nЭту книгу по праву признают этнографической энциклопедией Амурского края.\n \n<a href=\"http://kidreader.ru/book/1923\">Невезучка</a> (Нигма)\n<a href=\"http://kidreader.ru/book/1923\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/nevezuchka_cover3.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" /></a>Издательство «Нигма» возродило книгу Иосифа Ольшанского, которая не издавалась с 1966 года. Смешные и нелепые происшествия, которые происходят с Костей Пробочкиным, проиллюстрированы известным советским художником Петром Репкиным.\nЖивое и позитивное иллюстративное наполнение книги позволит полностью погрузиться в атмосферу смешных и нелепых происшествий, которыми делится с читателями главный герой.\n \n<a href=\"http://kidreader.ru/book/2033\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/Hobbit_cover_1.png\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Хоббит, или Туда и Обратно</a> (АСТ)\n«Хоббит…» с цветными иллюстрациями Дениса Гордеева уже выпускался издательством «АСТ» в 2005 году, но в новом издании иллюстрации дополнены, переработаны и обновлены художником.\nГордеев создал иллюстрации к «Хоббиту…» в своем традиционном стиле: они выглядят максимально реалистично, несмотря на то, что изображают фантастичный мир.\n \nЛучшая иллюстрированная книга\n<a href=\"http://kidreader.ru/book/1961\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/slon_cover.jpg\" width=\"131\" height=\"200\" style=\"margin: 10px; float: left;\" />Слон</a> (Рипол Классик)\nИздательство «Рипол Классик» впервые выпустило «Слона» в новом иллюстративном наполнении. Иллюстрации Геннадия Спирина к «Слону» Александра Куприна — это первая работа художника за последние 20 лет, созданная для российского издательства.\nУ Спирина  получились реалистичные, яркие, эмоциональные иллюстрации, которые позволят ребенку еще глубже прочувствовать эту удивительную и трогательную историю.\n<a href=\"http://kidreader.ru/book/1312\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/vn_son2013.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Сон в летнюю ночь</a> (Вита Нова)\nИздательство «Вита Нова» порадовало читателей одной из самых волшебных и поэтических пьес Уильяма Шекспира в пересказе для детей.\nОдним из главных достоинств этого издания является иллюстративное наполнение — цикл цветных иллюстраций петербургской художницы, классика книжной графики Веры Павловой.\n \nСоциально важные книги\n<a href=\"http://kidreader.ru/book/2077\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/ya_slishy_cover_0.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Я слышу</a> (Серафим и София)\nКнига затрагивает неожиданную для детской литературы тему — тему детской глухоты.\nЭта добрая книга учит маленьких читателей, что отсутствие слуха не мешает людям находить общий язык — нужно лишь проявить терпение и понимание в общении с таким человеком.\n \n<a href=\"http://kidreader.ru/book/2047\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/Kukla_cover_0.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Кукла</a> (Речь)\nНакануне 70-летия со дня полного снятия блокады Ленинграда вышла книга, которая передает весь ужас войны через события в жизни конкретной семьи, но при этом без кровавых сцен и жестокости.\nИллюстрации Г. А. В. Траугот — выдающихся художников-графиков — сопровождают произведение на каждом развороте.\n \nЛучшая издательская серия\n<a href=\"http://kidreader.ru/book/1912\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/Palochki_cover.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />БИСС</a> (ИД Мещерякова)\nВ 2013 году ИД Мещерякова создал новую книжную серию БИСС (Большое иллюстрированное собрание сочинений Владислава Петровича Крапивина), которая быстро обрела своих почитателей.\nВ числе уже вышедших книг этой серии — «Палочки для Васькиного барабана», «Тень каравеллы», «Мушкетер и фея», «Оруженосец Кашка» и другие. Все книги серии выходят в хорошем полиграфическом качестве, с цветными иллюстрациями.\nИздательство планирует выпустить в серии 50 книг Крапивина.\n<a href=\"http://kidreader.ru/article/1494\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/pchelka_cover.jpg\" width=\"131\" height=\"200\" style=\"margin: 10px; float: left;\" />«Мастера иллюстрации»</a> (Росмэн)\nКоллекционная серия «Мастера иллюстрации», включающая классические литературные произведения и сказки с иллюстрациями величайших российских и зарубежных художников, получивших всемирное признание.\nСреди иллюстраторов, работы которых войдут в данную серию, можно выделить таких известных мастеров, как Денис Гордеев, Александр Михнушев, Владимир Довгяло, Петар Месселджиа, Доминик Грёбнер, Ясен Гюзелев, Эва Ван, Бернард Обердик. \nСамая веселая детская книга\n<a href=\"http://kidreader.ru/book/1901\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/babaka_cover_1.jpg\" width=\"131\" height=\"200\" style=\"margin: 10px; float: left;\" />Про Бабаку Косточкину</a> (Клевер)\nКнига «Про Бабаку Косточкину» — это уморительно смешная книга Анны Никольской.\nАвтору удалось затронуть проблемы социального неравенства, проблемы ревности при появлении маленького ребенка в доме и сделать это искрометно, с юмором, который будет понятен как взрослым, так и детям.\n \n<a href=\"http://kidreader.ru/book/1823\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/Rudy_cover.jpg\" width=\"131\" height=\"200\" style=\"margin: 10px; float: left;\" />Руди-Пятачок</a> (Самокат)\nЭто веселая, легкая и живая история об одной многодетной семье и о поросенке Руди, которого она выиграла в лотерее.\nТакое событие стало счастьем для детей и настоящей катастрофой для родителей.\n \n \nЛучшая научно-познавательная книга для детей\n<a href=\"http://kidreader.ru/book/1766\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/Mizielinscy_cover.jpg\" width=\"131\" height=\"200\" style=\"margin: 10px; float: left;\" />Карты. Путешествие в картинках по континентам, морям и культурам</a> (Самокат)\nКнига Александры и Даниэля Мизелиньских содержит увлекательное описание 41 страны мира. Издание сделано в стиле старинных рисованных карт, на которых картографы давали много полезных и интересных сведений о стране, о ее населении и обычаях, а информативные авторские подписи к каждой карте помогут ответить на сотни детских вопросов.\n«Карты…» в 2013 году были отмечены сразу двумя наградами: литературной премией имени Ганса Христиана Андерсена и премией «Чародеи» французской Ассоциации издателей и книготорговцев.\n<a href=\"http://kidreader.ru/book/1326\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/VladimirDal.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Владимир Даль</a> (Фома)\nНебольшая брошюра Александра Ткаченко, вышедшая в серии «Настя и Никита», рассказывает об интересной и многогранной жизни Владимира Даля — автора знаменитого «Толкового словаря живого великорусского языка».\nДаль был моряком и хирургом, участвовал в двух войнах… и все это время по крупицам собирал услышанные слова, выражения и обороты русской речи.\n \nЛучшая книга для творчества и о творчестве\n<img src=\"http://www.e5.ru/image/big/33/14/10-moih-pervyih-kartin_10421433.jpg\" width=\"200\" height=\"200\" style=\"margin: 10px; float: left;\" />10 моих первых картин (Клевер)\nКнига Мари Селье «10 моих первых картин» предназначена для детей старше 4 лет. Эта книга развивает детский вкус, воображение, логику и мышление.\nШедевры мирового художественного искусства адаптированы таким образом, чтобы они были понятны детям.\nТакже в издание вошли стихи-загадки Михаила Яснова, описывающие картины Леонардо да Винчи, Пауля Клее, Пабло Пикассо и Ван Гога.\n<a href=\"http://kidreader.ru/book/1399\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/taro_istorii_3d.jpg\" width=\"190\" height=\"290\" style=\"float: left; margin: 10px;\" />Истории. Альбом для развития креативности</a> (Манн, Иванов и Фербер)\nЭто легендарный альбом известного японского иллюстратора и автора детских книг Таро Гоми, который получил признание во всем мире! Ребенку предлагается додумать и дорисовать картинки, которые начал автор. Но главное, что отличает этот альбом от множества других — это уникальный стиль рисования, который еще никому из художников не удалось повторить.\nВзрослым такие рисунки могут показаться каракулями, но дети чувствуют себя уверенно в мире Таро Гоми, ведь так у детей не возникает страха перед правильным, красивым контуром, который часто можно встретить в обычных раскрасках.\n \n<img src=\"http://www.knigograd.com.ua/images/detailed/17571.jpg\" width=\"137\" height=\"200\" style=\"float: left; margin: 10px;\" />Антуан де Сент-Экзюпери. Рисунки (КоЛибри, Азбука-Аттикус)\nВ этом необычном издании представлен уникальный каталог графики Сент-Экзюпери — от ранних детских работ художника до рисунков к сказке «Маленький принц».\nЭксклюзивные рисунки впервые собраны в одном издании.\n \n \nЛучшая развивающая книга\n<a href=\"http://kidreader.ru/book/1473\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/5kont-crop.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Найди и покажи. 5 континентов</a> (Клевер)\nУвлекательная книжка-раскладушка «Найди и покажи» позволяет развивать внимание, находя на большой картинке множество мелких деталей, тренировать память, расширять словарный запас, придумывать истории.\nКнига Тьери Лаваль, благодаря использованию игровой формы, позволит превратить обучение в веселое занятие!\n \nЛучшая книга для малышей\n<a href=\"http://kidreader.ru/book/1945\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/cherniy%20pes_cover.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Черный пес</a> (Поляндрия)\nКнига молодого британского писателя Леви Пинфолда, который одновременно является и автором «Черного пса», и его иллюстратором, — это история о страхе и его преодолении.\nЭта книга о том, как незамутненный детский взгляд и наивное доверие к миру в очередной раз совершили чудо.\nГлавенствуют в книге, конечно, авторские иллюстрации, которые дают объем и некое новое пространство для понимания текста, насыщают его особой атмосферой.\n<a href=\"http://kidreader.ru/book/1955\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/Alen_Skaz_cover.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Аленушкины сказки</a> (Нигма)\nВ книгу вошли лучшие рассказы и сказки русских писателей: Виталия Бианки, Всеволода Гаршина, Льва Толстого и Дмитрия Мамина-Сибиряка. Произведения, вошедшие в сборник, открывают маленькому читателю яркий и удивительный мир живой природы, знакомят с повадками и основными характеристиками некоторых животных.\nКрасочные и реалистичные иллюстрации Татьяны Васильевой призваны помочь детям получить более полное представление об окружающем мире, который они еще только познают.\n<img src=\"http://img2.labirint.ru/books/415942/scrn_big_1.jpg\" width=\"155\" height=\"200\" style=\"margin: 10px; float: left;\" />Азбука превращений (Лабиринт)\nВ этом издании Дарья Герасимова выступила сразу в двух ролях: не только в привычной для нее роли художника, но и в роли поэта.\nКнига «Азбука превращений» —это уникальный в своем роде проект, настоящее пособие для развития детской фантазии, ведь книга Дарьи Герасимовой учит не только читать слова и буквы, но и разглядывать в повседневных вещах причудливые образы, видеть их как художник и поэт.\n \nЛучшая книга для подростков\n<a href=\"http://kidreader.ru/book/2035\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/chudo_cover.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Чудо</a> (Розовый жираф)\nКнига американской писательницы Р. Дж. Паласио «Чудо» — это искренняя и трогательная история о необычном пятикласснике по имени Август Пуллман, который страдает от редкого генетического заболевания.\nНи одного подростка не сможет оставить равнодушным эта история, в которой мужество, чувство юмора, доброта и дружба способны сотворить настоящее чудо.\n \n<a href=\"http://kidreader.ru/book/1850\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/boteva_cover.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />Мороженое в вафельных стаканчиках. Три повести</a> (КомпасГид)\nВ сборник повестей Марии Ботевой — лауреата молодежной премии «Триумф» и финалиста Национальной детской литературной премии «Заветная мечта» — вошли пронзительные и удивительно честные повести о жизни подростков, которым трудно жить в большом мире, которые только пытаются понять сами себя.\nЭти повести о хрупкости человеческой души, о любви, предательстве, переходе в новую школу… Обо всех проблемах, которые испытывают подростки.\n \nЛучшая книга для родителей\n<a href=\"http://kidreader.ru/book/871\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/34015.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />После трех уже поздно</a> (Альпина Паблишер)\nМасару Ибука — разработчик новаторских концепций воспитания и обучения детей раннего возраста — написал свою книгу для родителей, которые хотят открыть перед маленькими детьми новые прекрасные возможности.\nАвтор считает, что сделать это можно только в определенный период жизни ребенка — до трех лет. Именно в первые годы жизни маленькие дети обладают способностью научиться чему угодно.  Концепция Масару Ибуки уже успела обрести последователей во многих странах мира.\n<a href=\"http://kidreader.ru/book/1369\"><img src=\"http://kidreader.ru/sites/default/files/imagecache/thumb190x290/Dolto.jpg\" width=\"131\" height=\"200\" style=\"float: left; margin: 10px;\" />На стороне ребенка</a> (Рама Паблишинг)\nФрансуаза Дольто провела всестороннее исследование детства и личности ребенка и отразила это в своей книге «На стороне ребенка». В этой книге автор разрушает стереотипы о детстве и затрагивает такие проблемы, как аутизм, влияние телевидения и компьютера, детские комплексы, раннее развитие и многие другие.\nИздание адресовано тем родителям, которые хотят расширить границы познания в отношении детства и научиться понимать и по-новому любить своих детей. \n \nС наилучшими пожеланиями, редакция <a href=\"http://kidreader.ru/\">KidReader.ru</a>.\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:2a999f57b012c4ab5b73270ded352e76' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Тридцать первого октября, как известно каждому современному ребенку и его продвинутым родителям, часть человечества, желающая попугаться и попугать, отмечает Хэллоуин. Мы не будем вдаваться в споры о смысле праздника, о его традициях, происхождении. Не станем препираться с теми, кто утверждает, что праздник этот совсем чужой и в России отмечаться не должен. Наш обзор для тех, кто Хэллоуин ждет. И для тех, кто хочет и умеет правильно бояться.\nЕсть, конечно, не устаревающая классика. «Дракула» Брэма Стокера, «Франкеншейн» Мэри Шелли, новеллы Э. А. По, «Иствикские ведьмы» Джона Апдайка, цикл Говарда Лафкрафа о Ктулху — перечислять можно долго и много. Даже Агата Кристи и Артур Конан Дойл легко попадут в этот список. А как же не вспомнить про современного мастера мистики и ужасов — Стивена Кинга! Его уже давно ставят на полку классики такой вот страшной литературы.\nНо все имена, перечисленные выше, известны многим. И многими, наверное, уже давно прочитаны. Что же почитать, когда классика мистического жанра уже осилена? Или наоборот ее пока рано открывать, чтобы не испугать уж совсем?\n<img src=\"/sites/default/files/Halloween_1.jpg\" width=\"150\" height=\"228\" style=\"margin-right: 10px; margin-left: 10px; float: left;\" />\n«Дом секретов»\nКрис Коламбус, режиссер нескольких фильмов о Гарри Потере, и писатель Нед Виззини придумали увлекательную историю о том, как трое детей вместе с родителями переезжают из удобной и суперсовременной высотки в роскошный викторианский особняк, построенный мрачным писателем-фантастом.\n Никого не настораживает подозрительно низкая цена на дом, а также очень странные соседи. Неудивительно, что как только семейство заселяется в дом, начинают происходить невероятные вещи: после страшного шторма родители исчезают, а дети попадают в зачарованный лес, в котором обитают невероятные существа.\nДжоан Роулин, автор Гарри Поттера утверждает, что история, придуманная Крисом Коламбусом и Недом Виззини «Пробирает до мурашек…» (во всяком случае, так написано на обложке книги). А что может быть лучше на Хэллоуин?\n<img src=\"/sites/default/files/Halloween_2.jpg\" width=\"150\" height=\"221\" style=\"margin-left: 10px; margin-right: 10px; float: left;\" />\n«Рыцарь-призрак»\nНемецкая писательница Корнелия Функе, ставшая известной после своей «Чернильной трилогии» радует нас сразу несколькими пугающими историями.\nЕсли тебе одиннадцать лет и ты, отправившись в интернат Слосбери, переживаешь нападение призраков, то тебя зовут Йон Уайтрофт и ты герой книги «Рыцарь-призрак» Корнелии Функе. Тебе предстоит раскрыть загадку старинного убийства. Вызвать дух древнего рыцаря, а потом вернуть его сердце и ту, которую он любит. Все ли у тебя получится? Это мы узнаем, как всегда, лишь перевернув последнюю страницу.\n \n<img src=\"/sites/default/files/Halloween_3.jpg\" width=\"150\" height=\"226\" style=\"margin-left: 10px; margin-right: 10px; float: left;\" />\n«Бесшабашный»\nА вот герою книги «Бесшабашный», попавшему в мир Зазеркалья, полный загадок и тайн, придется выбирать, что для него важнее — любовь и забота о младшем брате или жажда приключений. Как призналась Корнелия Функе на одной из встреч — всего по миру «Бесшабашного» у нее запланировано пять книг.\n \n \n \n<img src=\"/sites/default/files/Halloween_4.jpg\" width=\"150\" height=\"227\" style=\"margin-left: 10px; margin-right: 10px; float: left;\" />\n«Мертвец»\nВ книге Эдуарда Веркина «Мертвец» по большому счету главным героем является провинциальный город. Его жители уже давно не живут. Нет-нет, с ними все в порядке, на первый взгляд, но приглядитесь. Они «ищут мифический метеорит, выращивают анаконд в бане, играют в американский футбол и сжигают собак на погребальных кострах. \nВокруг города зияют в земле необъяснимые и зловещие провалы, будто по инерции из старых шахт продолжают взлетать ракеты…». И вот, перед одним из жителей этого городка — Никитой Слащевым — встает не простой выбор. Выбор между жизнью и смертью.\nПосле прочтения этой книги остается много вопросов, спорных мнений. Что это? Исповедь неуверенного в себе подростка-фантазера? Мистика? Или настоящая правда жизни? Наверное, каждый, кто прочтет эту книгу, решит для себя сам.\n<img src=\"/sites/default/files/Halloween_5.jpg\" width=\"150\" height=\"238\" style=\"margin-left: 10px; margin-right: 10px; float: left;\" />\n«Здесь вам не причинят никакого вреда» и «Сестрички и другие чудовища»\nЕсли же со страхами и ужасами вы тридцать первого октября переборщите. И вам покажется, что половицы в доме скрипят слишком подозрительно, дверь в комнате приоткрывает вовсе не сквозняк, а под кроватью и в шкафу притаился кто-то очень и очень недобрый, то пора браться за книги Андрея Жвалевского и Игоря Мытько.\n<img src=\"/sites/default/files/Halloween_6.jpg\" width=\"150\" height=\"224\" style=\"margin-left: 10px; margin-right: 10px; float: right;\" />\nВ 2006 году они получили премию «Заветная мечта» в номинации «Самая смешная книга» за иронический роман ужасов «Здесь вам не причинят никакого вреда». В 2013 году издательство «Время» выпустило второе издание этой повести. А следом вышло такое же ужасно ухохотательное продолжение «Сестрички и другие чудовища».\nНо, чу! Что это? Звенит цепями и завывает октябрьским ветром в пустых трубах! Дух Хэллоуина совсем близко! Достаем фонарики и прячемся со страшными книжками под одеяло. Так их читать гораздо интереснее и волнительнее. Остается предупредить, что все книги в этом обзоре рассчитаны на детей среднего и старшего школьного возраста.\nИрина Лисова, специально для <a href=\"http://kidreader.ru/\">KidReader.ru</a>.\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:1ce58da502928de802cb190c15904124' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Я сам, или кто такие космонавты\nМой знакомый, трехлетний Макс, однажды внимательно изучал радугу, возникшую в небе после ливня. Когда радуга исчезла, он спросил: «Мама, а почему кончилась радуга?» – «Не знаю, – ответила мама, – наверное, потому, что все красивое кончается». – «А почему все красивое кончается?» – «Ой, Макс, все некрасивое тоже кончается!» – «А почему?» – «Ну, вообще все кончается». – «А почему вообще все кончается? – «Я не знаю». – «Наверное, – сказал умудренный Макс, – это только дядя-мастер по радугам знает...»\nХотелось бы думать, что детский поэт может быть хоть в чем-то сродни «дяде-мастеру по радугам», чтобы отвечать на замечательные вопросы наших юных читателей, а если говорить про таких маленьких, как Макс, – то пока еще слушателей.\nМеня уже давно преследует идея сложить свои стихи по возрастной лестнице: начать с самых малышовых, с тетешканья, с того, что когда-то называлось поэзией пестования, и незаметно, месяц за месяцем, год за годом «подниматься» к школе. Отдаю себе отчет в том, что в идеале это вряд ли выполнимо: слишком зыбки психологические границы в дошкольном возрасте, слишком различны дети, слишком они еще – и слава богу! – сопротивляются унификации.\nИ все-таки есть нечто, что их, трехлеток, объединяет. Назовем это веселым возгласом «Я сам!». Маленький слушатель сам открывает для себя то, что впоследствии становится для него самым важным в жизни: мир взрослых, свою семью, природу, первые, основные понятия, и – речь, язык. На главном месте здесь нередко оказываются фантазия и звук, которые и хочется подхватить.\nТот же Макс однажды так ответил на вопрос, кто такие космонавты. «Это, – сказал он, – такие люди, которые делают пупок бабочки». Попробуйте его оспорить!\nЯ расту, или право на добавку\nА что в четыре года? Мир невероятно расширился, и наш читатель (во многом уже именно читатель!) теперь вовсю к нему приглядывается. Появляются детали, которые раньше он не замечал. Приходят поступки (и проступки), на которые он теперь отваживается. Но главное внимание – мелочам: травинкам, насекомым, винтикам, ниточкам, буковкам. Буковкам – особый почет: их рисуют, их обводят пальцами, их на разные лады произносят, из них составляются слова и первые, самостоятельно придуманные песенки:\nЛуна пропала,\nНету луны.\nПохоже, что она\nЗа небом,\nЗа домом,\nЗа окошком,\nЗа краном...\nЛуна поет\nИ не плачет никогда...\n– На-на-на! –\nПоет луна.\nЯ очень обрадовался, узнав это творение одного из моих самых маленьких друзей, – обрадовался, потому что оно оказалось похожим на мое собственное стихотворение, которое я написал далеко не в четырехлетнем возрасте… «Значит, – подумал я, – сидит во мне и такой малыш, и надиктовывает свои правила игры, очевидно, общие для многих…»\nЧетырехлетний ребенок уже вовсю пользуется своими правилами и своими правами – в частности, правом озвучивать окружающее, правом слушать и читать чистые, ритмические, гармонизирующие его внутренний мир строчки. Но не только!\nЕсть у взрослых много прав –\nРассуждая здраво,\nИ ребенок тоже прав,\nЗащищая право\nРазорвать о гвоздь рукав,\nСунуть в рот козявку,\nИ одно из главных прав –\nПраво на добавку!\nВот таким «правом на добавку» я бы назвал и право на стихи. С них на самом деле начинается в жизни куда больше серьезного, чем мы порой думаем.\nЯ со всеми, или что такое любовь\nКак-то раз юная пятилетняя особа сидела рядышком со взрослыми и внимательно прислушивалась к их беседе. В какой-то момент она вмешалась в разговор и философски заметила: «Жизнь – это любовь…». Фраза пришлась весьма кстати, все рассмеялись, и я решил удержать внимание девочки: «Скажи, а что такое любовь?» Она тут же нашлась: «Любовь – это жизнь…». Мне не оставалось ничего другого, как спросить у нее: «А что же тогда смерть?» – «Знаешь что, – ответила она, – пойдем залезем под стол…»\nПорой мы не без оснований поражаемся уму и проницательности наших маленьких собеседников. Есть предположение, что дети с трудом уживаются с метафорой, – психолингвисты, например, давно пришли к выводу, что маленькие дети достаточно плохо ее понимают и, как правило, не умеют ее объяснить. Однако наблюдения тех же специалистов и родителей доказывают, что в самой детской речи полным-полно метафор, и это – закономерность и одно из главных свойств формирования речи ребенка. На этом психологическом противоречии может, а мне кажется, и должен «играть» поэт, пишущий для детей: показывая мир «изнутри» детского сознания, он подталкивает малыша к активному освоению родного языка, а через него – и всего окружающего.\nНедавно еще одна пятилетняя зрительница на премьере кукольного спектакля по «Волшебной флейте» Моцарта, когда принц Тамино уставился на медальон с изображением принцессы Памины и надолго замолчал, закричала на весь зал: «Влюбился!.. Влюбился!..» Закричала отнюдь не с детской издевкой, а с восхищением и плохо скрытой завистью.\nВ пять лет ко многим приходят эти первые взрослые чувства – любовь и ревность, отчаяние и понимание, что такое дружба. И уже глубоко осознанное представление о семье, домашнем уюте, – когда он есть, и особенно когда его нет. Не будем также забывать о том, что свойственно всем детям, – о чувстве юмора, которое теперь начинает приносить свои плоды. Над чем смеется ребенок – над приятелем, упавшим в песочнице, или над остроумной и тонкой шуткой?\nЯ иду в школу, или что такое счастье?\nВот я уже\nДорос до лета,\nЯ прожил дней –\nНе сосчитать.\nТеперь я знаю:\nСчастье –\nЭто\nПриткнуться к маме\nИ читать!\nВ шесть лет наш юный герой действительно уже может сказать, что счастье – это «приткнуться к маме и читать». Жизнь во многом приобретает смысл, когда заглядываешь в недалекое будущее и видишь первый ранец или рюкзачок с книгами, вспоминаешь уже знакомый запах свежеотточенного карандаша, слышишь шелест тетрадки и скрип ручки…\nЗапахи и звуки определяют это будущее. Это запах и звук мечты, и, на мой взгляд, поэзия должна прийти на помощь там, где их следуют закрепить, внедрить в сознание. Шесть лет – это уже тот возраст, когда всерьез задумываются о том, кем стать, когда начинают мучить вопросы, как устроен мир, и каково твое место в этом мире. Вообще-то, примерять на себя мир мы начинаем куда раньше рассчитанного на это подросткового возраста.\nВ шесть лет уже вовсю закрепляется словесно-игровое отношение к окружающему. Один будущий первоклассник, посмотрев мультфильм о путешествии Нильса с дикими гусями, объявил: «Хочу гуся Мартина!». И стал приставать к родителям: «Заведем гуся Мартина!». – «Хорошо, – наконец сказали ему, – заведем!». Понимая абсурдность своей просьбы, ребенок нашелся: «Конечно, заведем, – откликнулся он. – Ключом!».\nСловесная игра – это особый способ открытия мира, а воспитание «филологического» юмора – большое подспорье для души. Очень важно, чтобы все это было в тех стихах, которые попадаются на глаза маленькому читателю.\nЯ читаю, или домашние радости\n Вот так, пробежав несколько возрастных ступенек, мы, я надеюсь, придем к выводу, что поэтическая книга – по крайней мере, в традициях нашего отечественного семейного воспитания – непременное условие гармонического взросления и «окультуривания» ребенка.\nПоэтическая, да, впрочем, и любая другая книжка хороша еще и тем, что чтение – это домашнее занятие: оно проходит в знакомой обстановке, в «ближнем кругу», а если представить себе, что все прочитанное становится предметом непременного обсуждения со взрослыми, а затем и с ровесниками, а затем – что было бы уже совсем здорово! – и с самим собой, то итог понятен и внятен. Что бы мы сами и что бы нам не говорили о сегодняшнем «нечитающем» ребенке, лекарство от этого расхожего явления имеется, и весьма действенное.\nОднажды Валентин Дмитриевич Берестов написал стихотворение, которое мы вспоминаем всякий раз, когда разговор заходит о детском чтении, о детской книге, о том счастье, которое малыш получает, когда, наконец, может сам, без помощи взрослых, что-то прочитать:\nКак хорошо уметь читать!\nНе надо к маме приставать,\nНе надо к бабушке идти:\n«Прочти, пожалуйста! Прочти!»\nНе надо умолять сестрицу:\n«Ну, почитай еще страницу!»\nНе надо звать.\nНе надо ждать.\nА можно взять\nИ почитать!\nВ этом «А можно взять…» есть еще одно драгоценное сегодня качество: неспешность. В ней есть своя особая прелесть: неспешность – это дом, уют, тепло, именно то, что порою так необходимо нашему читателю. Можно неспешно забраться к папе на колени, неспешно открыть книгу и неспешно, внимательно ее прочитать.\nПоспешить мы еще успеем!\nЯ вспоминаю, или пространство детской поэзии\nПервыми стихами, которые я самостоятельно прочитал, были стихи Самуила Яковлевича Маршака, две его азбуки – «Живые буквы» и «Про все на свете». Чуть позже пришли другие стихи – Чуковский, Маяковский, Барто... Азбуки Маршака остались в памяти именно как первое чтение. И даже не столько чтение, сколько разглядывание: рисунки В. Лебедева и В. Конашевича завораживали не меньше, чем маршаковские афористические строки.\nКогда я сегодня смотрю на эти картинки, мне становится «мучительно больно» за себя маленького. Теперь я понимаю, чем меня чаровали, например, герои Лебедева, – это было зеркало, это был я сам, это были живые ребята, каждым из которых я хотел стать: «Боря – барабанщик», марширующий в такт ударам своих палочек, «Глеб-гранатометчик» в широких трусах, со спортивной гранатой в руке, «Павел-пограничник» в военной фуражке и с собакой... Все это были клише:\nЦезарь вам картинки вытравит на цинке,\nЦинковые доски передаст в печать.\nЭти – с сегодняшней точки зрения – неуклюжие, некрасиво одетые, заранее оболваненные дети – живые образы моего детства и деться от них некуда.\nПространство детской поэзии тем и привлекательно, что в нем есть место любому читателю, с любыми его сегодняшними литературными пристрастиями. Для ребенка – это пространство будущего, для взрослого – пространство памяти. А объединяет и маленьких, и больших одно: родной язык. Его гармония (или дисгармония) становится, может быть, главным мерилом постижения жизни.\nВ поэтической работе с малышами мы уповаем на одно: на вкус, на чувство такта и меры, на терпеливость и доброжелательность взрослого, на его умение отличать поэтическую фальшивку от подлинной поэзии. Сегодня, когда книжный рынок завален «поделочной» продукцией, дело это непростое. Если бы можно было всех родителей снова отправить в школу, я бы ввел для них непременный предмет: детская поэзия. Пусть учатся!\nP.S. А если говорить о детской поэзии как о непременном предмете нашей семейной педагогики, то вот маленький список, включающий имена 15 детских поэтов, без которых, на мой взгляд, трудно сегодня представить процесс дошкольного поэтического воспитания. Это поэты, чей путь уже завершен. Но, слава богу, у нас немало вполне живых замечательных детских поэтов, о каждом из которых надо рассказывать по отдельности.\nКорней Чуковский. Стихи, поэтические сказки, переводы английских народных песенок Чуковского с момента создания превратились в основное чтение наших дошкольников и продолжают им оставаться. Поэтическое наследие Чуковского невелико: почти все его произведения для детей были написаны в 20-30-е годы, они стали краеугольным камнем нашей детской литературы – в том числе и потому, что сам он считал главной целью детского писателя «любой ценой воспитать в ребенке человечность».\nСамуил Маршак. С Маршаком – а первые его стихи и переводы для детей появились в начале 20-х годов – наша малышовая поэзия пережила второе рождение. Пожалуй, никто из классиков не повлиял так сильно, так надолго и на ее развитие, и на детскую педагогику. «Дошкольного» Маршака надо читать практически всего – прежде всего, его азбуки, «Деток в клетке», «Разноцветную книгу», его стихотворные сказки и истории, песенки, тараторки, поговорки, загадки и конечно, переводы из английской народной и авторской поэзии.\nСаша Чёрный. «Детский остров» Саши Чёрного вышел в 1920 году, и стихи из него для маленьких читателей давно вошли в золотой фонд нашей детской литературы. Не случайно само это название – «Детский остров» – стало чуть ли не нарицательным: так называются разделы в газетах и журналах, появилась даже одноименная радиопрограмма для детей. И стихи его по-прежнему важны, поскольку для малышовой литературы и педагогики все так же злободневен вопрос, как наши дети разговаривают, умеют ли они излагать то, что думают, и как литература на это реагирует.\nДаниил Хармс. Для детей Хармс написал немного – всего около шестидесяти стихотворений (включая поэтический пересказ книжки В. Буша «Плих и Плюх»), около двух десятков рассказов и «Представление в 2-х действиях» – «Цирк Шардам». Множественностью повторений, тщательной разработкой абсурдных и парадоксальных тем, существовавших в детском фольклоре – перевоплощений, перевертышей, загадок, путаниц, всевозможных видов словотворчества, – Хармс и поэты-обэриуты утвердили школу детской интеллектуальной поэзии, в которой звуковые и ритмические игры рассчитаны на сотворчество и развитие мышления.\nАлександр Введенский. Один их самых плодовитых авторов легендарных журналов «Чиж и «Еж», он был автором и стихов, и переводов, и пересказов мировой литературы для детей. На фоне парадоксального Хармса детские стихи Введенского выглядят не менее новаторски. Отличный выученик маршаковской школы, он прибавил к уже опробованным поэтическим ходам оригинальную ритмику и какую-то неведомую до тех пор магию детских заклинаний, основанную на повторе звуков и слов. Он придумал своего рода детский примитив, сведя до минимума поэтические средства, несколькими штрихами рисуя привлекательную, а то и загадочную картинку.\nСергей Михалков. Все, что написал и сделал «взрослый» Михалков нередко заслоняло все то, что он написал для детей в молодости, – того Михалкова, которого любили и привечали Маршак и Чуковский. А писал он замечательные стихи – «Песенка друзей», «А что у вас?», «Мы с приятелем», «Одна рифма», «Фома», «Щенок»… Эти стихи вошли в круг любимого малышового чтения, их читали, пели, представляли на сцене, да и сегодня заражаешься их ритмикой и оптимизмом. В стихах для маленьких Михалков старается говорить очень просто об очень сложном. Это редкий дар, стихи запоминаются и помимо нашей воли становятся точными знаками времени.\nАгния Барто. Барто писала для детей стихи, пьесы, киносценарии – с тех пор, как в 1925 году вышла ее первая книжка для малышей, и до последних дней жизни она была активнейшим участником и создателем нашей детской литературы. Она узаконивала новые формы детского стиха, боролась за сложную, необычную рифму, очень много сделала для поэтического воспитания подростков. Но сегодня мы больше всего помним и любим ту Барто, которая писала для маленьких. Ее малышовые стихи обладают непреходящей ценностью живой, увлекательной интонации, а открытый и развитый ею жанр детской сюжетной миниатюры близок сегодняшним детям точно так же, как их сверстникам полувековой давности.\nЕлена Благинина. Ее детские стихи можно представить легким, ажурным, но прочным мостиком, соединяющим русскую классическую традицию с сегодняшним днем. Первые стихи Благининой для детей появились в начале 30-х годов, и с тех пор более полувека выходили ее поэтические сборники, которые продолжают оставаться любимым семейным чтением. Помимо милых взрослому полузабытых примет далекого детства, есть в стихах Благининой нечто, что привораживает маленького слушателя, а чаще – слушательницу. Об этом «нечто» ребенок вряд ли что расскажет, но поймет и прочувствует. Это – гармония, ощущение соразмерности, равновесие между литературным поэтическим языком и фольклором, мотивы которого так трогательно переплетаются с детскими речениями.\nБорис Заходер. Заходера можно было бы назвать народным детским поэтом. А еще вернее – международным. Потому что он сделал национальным достоянием русской литературы шедевры европейской детской классики, в том числе – поэтической. Пересказы Заходера – это его интонация, его находки, его словесная игра, совершенным мастером которой он оставался до последних дней. В конце жизни он прибавил к своим знаменитым азбукам и «Горизонтским островам», к «Вообразилии» и «Считалии» новый жанр «Заходерзостей», расширив аудиторию за счет родителей, включив их в свою детскую игру.\nВалентин Берестов. У Берестова вышло множество книг для самых маленьких читателей – он поразительно умел, как говаривал Маршак, «держать звук» и создал образцовую дошкольную лирику. «Все мои стихи для маленьких, – писал поэт, – это игра с детьми. А они – могучие мыслители, фантазеры и любители парадоксов... А еще в этих стихах выражается моя любовь к маленьким детям и огромная благодарность им за те прекрасные часы, которые я имел честь и счастье проводить в их обществе». В. Берестова следует читать медленно и внимательно. И весело. Юмор его понятен даже самым неопытным читателям. И в этом сильнейшая сторона лирического обаяния поэта.\nГенрих Сапгир. Первый его сборник вышел в 1960 году. Тогда же, в 60-е, были опубликованы и первые его «азбучные» книги, «Забавная азбука», потом «Лесная азбука», целый логопедический словарь считалок и скороговорок, «Новый букварь», множество стихов, «работающих» на развитие и культуру речи. 70-е годы были особенно плодотворными в детском творчестве Сапгира; в эту эпоху появились значительные его книги «Красный шар», «Карманный комарик» и «Четыре конверта» Следует вспомнить и переводы Сапгира из замечательного еврейского поэта Овсея Дриза, тогда же, в 70-е, неоднократно издававшиеся, а затем собранные в большой книге «Моя песенка».\nАлександр Шибаев. Его поэзия напрямую связана с педагогической практикой, Шибаев учит детей родной, обыкновенной речи посредством речи поэтической. Загадки, скороговорки, перевертыши, небольшие сюжетные истории про звуки, буквы, слова и знаки препинания – Шибаев пошел в этой игре дальше многих: возможно, впервые в поле зрения детского поэта попала столь обширная область практического языка. Почти все, им написанное, вошло в две его итоговые книги «Взялись за руки друзья» (1977) и «Язык родной, дружи со мной» (1981). Место Шибаева весомо и оригинально: сделав язык главным персонажем стихов, он показал, что игра – когда она существует не ради незамысловатой забавы, а ради учения и постижения культуры – в высшей степени необходима детской поэзии.\nЭмма Мошковская. Первая ее книга стихов для детей вышла в 1962 году и называлась «Дядя Шар». Поэтесса словно подчеркивала преемственность традиции, идущей от воздушных шаров в давних детских стихах Даниила Хармса, Осипа Мандельштама или Евгения Шварца. Дошкольник, детсадовец – любимый персонаж стихов Э. Мошковской. Стихов множество – как много загадок, которые приходится решать открывателю мира. Удивительна ритмика, – как будто девчонка скачет через скакалку или восторженный ребенок, глотая слова, рассказывает о чем-то для него небывалом. Стихи переполнены словами, рассказывающими о звуках и изображающими звуки. И вдруг из веселого звукопада рождается тишина, когда можно посидеть и подумать. Ведь вопросы, которые звучат в стихах Мошковской, вызваны тем, что ее герои – думают. Вот что самое главное.\nИрина Пивоварова. Поэтесса, прозаик, автор чудесной книги воспоминаний о детстве. Большинство стихов Пивоваровой – маленькие притчи, нередко веселые, всегда с подтекстом. Она любила сталкивать в стихах противоположности, объяснять посредством поэтической речи очень важную для малышей разницу между большим и маленьким, тихим и звонким, светлым и темным, своим и чужим. Ирина Пивоварова прожила недолгую жизнь, но книги ее и не думают стареть: и сборники стихов – «Тихое и звонкое» (1967), «Жила-была собака» (1973), «Два очень смелых кролика» (1975), «Хочу летать» (1983), «Потерялась в небе птица» (1984), и проза, часто теперь переиздающаяся.\nОлег Григорьев. В шестнадцать лет Олег Григорьев написал четверостишие, сейчас известное чуть ли не каждому, – про электрика Петрова, который «намотал на шею провод». Давно и основательно оно вошло в фольклор, как и некоторые стихи из его первой детской книги «Чудаки» (1971). В стихах для детей Григорьевы вывел целую галерею смешных, чудаковатых, трогательных персонажей. Созданию особого колорита во многом способствовал и жанр миниатюры (идущий от раешника и частушки), который чаще всего встречается в творчестве поэта и который был широко представлен в его следующих книгах – «Витамин роста» (1980) и «Говорящий ворон» (1989). Взрослая обращенность детской поэзии Григорьева сделала его широко популярным прежде всего в родительской среде, а парадоксальность поэтического мышления – в детской.\nМихаил Яснов, специально для <a href=\"http://kidreader.ru/\">KidReader.ru</a>.\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:6712eac4adf9da6bdb17ea8ba4b59352' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Вы решили стать детским писателем.\nНе знаю, почему это с вами случилось. Возможно, придумали дочке пару рассказиков про кошку Бульку и динозавра Родиона — и дочка с восторгом требует «Еще!». Возможно, читали очередную детскую книгу, ужасались горбатости стиля и поняли «Я могу лучше!». А может быть, это было озарение сродни Ньютоновому яблоку.\nСловом, решили. И сразу появилось много вопросов: с чего начать? Куда нести рукопись? Как объяснить всем, что дочка в восторге и все ее подруги тоже читали и хвалили? И (тут становится немного стыдно) как на этом всем заработать деньги? Это, разумеется, не главное. Главное — дарить радость детям… Но и гонорар тоже хотелось бы…\nРекомендаций для начинающих детписов (привыкайте, это внутреннее жаргонное название детских писателей) в Интернете хватает. Я рекомендовал бы прочитать советы <a href=\"http://arcobaleno-ru.livejournal.com/179456.html\">Николая Назаркина</a> или <a href=\"http://workingmama.ru/article/44187/otkuda_berutsja_detskie_knigi\">Анны Никольской</a>, хотя не со всеми их выводами согласен.\nВот моя точка зрения.\n<h4>Текст прежде всего</h4>\nСамое важное — качественный текст.\nНет, это не банальность, как может показаться. К моему удивлению, очень многие (не только начинающие, и не только писатели) начинают рассуждать о тенденциях, социальной значимости, рыночных перспективах, необходимости учить детей добру — о чем угодно, кроме качества литературы. Возможно, они выносят этот фактор за скобки. Мол, само собой разумеется, что «писать надо хорошо, особенно для детей, но…».\nНикакого «но» нет.\nПисать надо хорошо. Точка. Иначе это не будет «само собой разуметься». Иначе вы все время будете мучительно думать: «А достаточно ли остро я пишу?». Или наоборот: «А не заругают ли меня омбудсмены?». Или начнете сравнивать себя с Барто или Носовым. Словом, будете отвлекаться на всякую ерунду.\nБывает, что автор вынужден на эту ерунду отвлекаться. Например, когда он пишет заказную книжку в серию «Для девочек» или «Для настоящих принцесс». Таким авторам моя статья не нужна — им уже все объяснили редакторы «АСТ» или «Эксмо». Они (редакторы) работают очень четко и высокопрофессионально. Не иронизирую: эти люди действительно эффективно выполняют задачу по насыщению серии материалом. Буквально указывают пальцем, где нужно вписать переживания девочки «Ура! Я влюбилась!». Но почему-то такого рода тексты редко остаются в истории литературы. Есть у меня одна знакомая писательница. Когда она пишет для себя, получается прекрасная, честная, светлая и пронзительная история. Такие книги замечает и критика, и премиальное жюри, и читатели. А когда эта же писательница пишет на заказ, выходит… стандартно.\nПоэтому, если есть возможность, отмахивайтесь от всего, что не касается качества литературы. От любых идей, даже если сами идеи кажутся вам симпатичными. Пропаганда идей — задача публицистики, не литературы. Вам нужно сконцентрироваться на более сложной проблеме — честно описать мир отдельного человека. А то и нескольких. И для этого нужен качественный, плотный, искренний текст.\nЯ уже несколько раз упомянул эпитет «качественный», но что это значит? Как понять, хорошо ты пишешь или не очень? На мой взгляд, ответ очень простой (сложный): если вам нравится — то это хорошо. Текст не должен у вас вызывать ни малейшего раздражения или дискомфорта, вы должны писать и читать его с удовольствием. Тогда есть шанс, что он понравится еще кому-то.\nПравда, есть шанс, что он понравится только вам, вашей маме и вашим друзьям. Это может означать, что вы:\n<ul>\n<li>недостаточно поработали над текстом;</li>\n<li>графоман.</li>\n</ul>\nПро работу над написанным я расскажу чуть ниже, но если окажется, что вы графоман — не расстраивайтесь. Это самая страшная мания из всех возможных.\nКак именно писать книги — тема отдельных трудов, и они уже написаны. Мне больше всего на душу лег труд Стивена Кинга «<a href=\"http://ru.wikipedia.org/wiki/%D0%9A%D0%B0%D0%BA_%D0%BF%D0%B8%D1%81%D0%B0%D1%82%D1%8C_%D0%BA%D0%BD%D0%B8%D0%B3%D0%B8\">Как писать книги</a>», но вы можете подобрать что-нибудь другое, благо <a href=\"https://www.google.by/search?q=Как+писать+книги&rlz=1C1DVCJ_enBY548BY548&oq=Как+писать+книги&aqs=chrome..69i57j0l3.514j0&sourceid=chrome&ie=UTF-8\">выбор велик</a>.\nПоскольку книги «Как стать детским писателем» пока не видно, позволю себе несколько дополнительных рекомендаций. Большую их часть я не придумал, а услышал на семинарах фестиваля «Молодые писатели вокруг ДЕТГИЗа»:\n<ol>\n<li>Четко понимайте, для какого возраста вы пишете. В пять лет человек совсем не так читает, как в восемь. В десять — не как в четырнадцать. А уж если вы используете сложноподчиненные предложения, насыщенные причастными и деепричастными оборотами, многоуровневыми метафорами и ссылаетесь на «Энеиду» в оригинале — поздравляю, вы пишете не детскую книгу.</li>\n<li>Следите за возрастом героев. Послушайте, как говорит живой десятилетний ребенок, и сравните с речью вашего десятилетнего героя. Тут есть две опасности. Вы можете занизить возраст, и тогда третьеклассник вдруг начинает сюсюкать и лепетать. Или можете вложить в уста пятиклассника лексикон Ломоносова, что сразу сделает героя неправдоподобным.</li>\n<li>Сюжет! Дети большей частью читают события, а не подробности. Глаголы, а не прилагательные и наречия. Все время должно что-то происходить, появляться какие-то загадки или проблемы. «Все время» — это значит «с первого предложения». Длинные цветистые описания природы и внешности оставьте лауреатам «Ясной поляны». У детей — особенно младшего школьного возраста — прекрасно работает фантазия, они сами додумают все детали, если вы им дадите плотный, динамичный сюжет.</li>\n<li>Следите за длиной книги. Этот параметр очень зависит от возраста. Дошкольник предпочтет короткие рассказы, а вот девятиклассник с удовольствием прочитает и сагу. В любом случае длинный текст должен быть разбит на главы. Так удобнее читать, честное слово.</li>\n</ol>\nИтак, когда пишешь текст:\n<ul>\n<li>не надо думать о социальном заказе, лучших образцах жанра, советах бывалых, педагогической составляющей, законе № 436-ФЗ и пр.;</li>\n<li>надо сосредоточиться на своей истории и стараться рассказать ее честно, просто и интересно.</li>\n</ul>\n<h4>Между рукописью и книгой</h4>\nДопустим, книга написана.\nСамое время спросить себя, зачем вы ее писали. То есть писали, понятно, потому что хотелось. Но теперь, когда поставлена точка, нужно понять, какая судьба ждет эту рукопись. В современной детской литературе у автора есть два пути:\n<ul>\n<li>стать сериальным автором, работая на крупное издательство за постоянный гонорар;</li>\n<li>бороться за признание литературной общественности, получать премии, хорошую критику, самореализовываться.</li>\n</ul>\nОба пути имеют свои плюсы и минусы, и я не готов сказать, что лучше. Это вы должны решить сами. И от вашего выбора зависит, что вы сделаете со свеженаписанной книгой.\nСериальный автор обязан писать быстро и много. Этого его главное качество. Понятно, что литература не должна опускаться ниже определенного уровня, но за слишком добротный текст вас никто не похвалит и дополнительных денег не заплатит. Поэтому, если вы решили трудиться на благо серии, поскорее отсылайте книгу в крупное издательство и стремительно пишите продолжение. Как вариант: быстро-быстро напишите три книги с единым миром и героями — и предложите издательству сразу комплект. «Чистка» рукописи — потеря времени. Как ни смешно, «грязный» текст вполне может понравиться детям и даже стать хитом. Все потому, что дети, как я уже говорил, больше всего следят за сюжетом. Если он стремительный и захватывающий, юный читатель может простить и речевые штампы, и ходульность персонажей, и бедность лексики (до определенной степени, разумеется).\nНо если вам хочется создать добротный продукт, который будут хвалить профессионалы, придется над текстом поработать. Могу предложить следующую технологию:\n1. Нулевой этап. Вы ничего не делаете с рукописью. Она лежит в дальнем ящике стола или в далекой папке на ноутбуке. Лежит, пока не забудется. У нас с Евгенией Пастернак на это уходит обычно месяц или два. В это время можно заниматься чем угодно: съездить в отпуск, погрузиться в бытовые проблемы, подтянуть хвосты на работе, которую вы подзабросили из-за литературного творчества. Писать ли новую книгу? Не знаю. Кинг именно это и советует, а вот я не могу начать новое, не завершив работу над старым.\n2. Авторская редактура. Первый человек, который должен прочитать «сырую» рукопись — сам автор. Хотя бы для того, чтобы избежать позора. Вы наткнетесь на множество описок, оговорок, с удивлением задумаетесь: «А что я имел в виду?». Возможно, окажется, что физрук Иван Иванович к концу повести превратился в трудовика Сергея Сергеевича. Какие-то фразы резанут глаз — безжалостно вычеркивайте их. И вообще не жалейте текст. Если что-то можно выкинуть без потери смысла — выкидывайте. Если после авторской редактуры рукопись не сократилась хотя бы на 10%, значит, вы схалтурили. Суровая авторская правка нужна любому тексту. Я раньше думал, что уж Пушкин-то явно все писал набело — так у него все легко и прозрачно. Потом увидал в музее его черновики… Некоторые страницы сплошь покрыты правками. А это, на секундочку, Пушкин, так что нам с вами сам бог велел. И не надейтесь, что «редактор поправит». Хороших редакторов в современной детской литературе очень мало. Буквально единицы. Поэтому вычитывайте все: и стиль, и грамматику. Особенно грамматику. Вам предстоит отдать текст в руки редактора, то есть человека, любящего грамотный текст. Как только он увидит «имейте ввиду» или «оденьте плащ, чтобы прогулятся» — расстроится и не сможет по достоинству оценить вашу совершенно гениальную историю. (Если в приведенных выше примерах вы не заметили ничего криминального, отдайте вашу рукопись профессиональному корректору, вас ждет неприятный сюрприз).\n3. Привлечение тест-читателей. Этот этап необязательный, многие писатели считают его даже вредным. Но мы с Евгенией Пастернак (а до этого — с Игорем Мытько) используем его давно и плодотворно. Вам нужно найти людей, которые согласятся прочитать вашу рукопись и высказать свои претензии. Это могут быть родные и близкие либо просто друзья в социальных сетях. Главное, чтобы они вас поругали. Конечно, похвала приятна, но полезна только критика. К замечаниям относитесь осторожно, прислушайтесь к себе. Внутренне согласны с критикой — исправляйте. Считаете замечание глупым — забудьте. Но если одна и та же претензия поступила от совершенно разных людей, стоит задуматься. Вот чего точно не стоит делать, так это объяснять читателям, что они неправильно вас поняли. Как вы написали в книге, так и поняли. И, возможно, это даже к лучшему. Вот Сервантес, например, писал (как он думал) злобную пародию на рыцарские романы, а получился «Дон Кихот» — книга, которую любят и понимают совсем не так, как автор. И не бойтесь, что текст разойдется по Сети «и его никто не станет покупать». Опыт, например, книги «Я хочу в школу!» говорит о прямо противоположном. Ее в группе «ВКонтакте» прочитало около сотни тест-читателей — и неизвестно скольким друзьям они дали почитать, но сразу по выходу «Я хочу в школу!» стала продаваться очень бодро.\n4. Окончательная редактура. После внесения замечаний не поленитесь, прочитайте рукопись еще раз. Внимательно, въедливо. Возможно, в результате всех ваших правок где-то нарушилась логика, где-то появились противоречия. И вообще — стоит убедиться, что теперь книгу не стыдно предъявить миру.\nИтак, после написания книги:\n<ul>\n<li>если хотите зарабатывать деньги — сразу отправляйте издателю, чтобы показать, как быстро вы пишете;</li>\n<li>если хотите самореализации и признания в литературном сообществе — тщательно отредактируйте текст.</li>\n</ul>\n<h4>Разговор детписа с издателем</h4>\nИ последнее, что осталось сделать, — но почему-то первое, что спрашивают начинающие писатели.\nКак найти издателя для своей книги?\nЧестно скажу: чем больше смотрю на издательский мир (а это уже почти 20 лет), тем меньше что-то понимаю. Пути рукописей причудливы и неисповедимы. «Гарри Поттера» несколько лет не хотели издавать вообще. «Волшебник Изумрудного города» написан для собственного удовольствия человеком, который и не помышлял о карьере детского писателя. Да и сам я очень удивился бы, если бы лет 15 назад узнал, чем буду заниматься сегодня.\nНо некоторые рекомендации все-таки дам. Они могут не сработать, но чаще всего срабатывают.\n<ul>\n<li>Участвуйте в семинарах и фестивалях. Это полезно не только для того, чтобы проторить дорогу в издательство. На любом хорошем семинаре ваш текст рассмотрят под микроскопом, укажут на огрехи, словом, помогут довести до ума. Кстати, если вас ранят критические замечания, если вы после них спать не можете — подумайте, стоит ли заниматься литературным ремеслом? Как только ваша книга выйдет и разойдется достаточно широко, только ленивый вас не лягнет. Топтаться на святом будут и такие, кто «эту ерунду не читал, потому что я такую ерунду не читаю». Но вернемся к фестивалям. Кроме всего прочего, тут вы познакомитесь с множеством коллег, как начинающих, так и маститых. Возможно, кто-то из них приведет вас за руку в свое издательство. Или хотя бы даст рекомендацию, напишет рецензию или еще как поможет. (К слову, поколение нынешних детписов удивительно доброжелательно к коллегам. Хоть и критикуем друг друга, но и помогаем изо всех сил). Если решитесь попытать счастья на семинаре, обратите внимание на фестиваль «<a href=\"http://www.detgiz.spb.ru/fest4.php\">Молодые писатели вокруг ДЕТГИЗа</a>» и <a href=\"http://www.deti-knigi.com/index.php/component/k2/item/1298-%D1%81%D0%B5%D0%BC%D0%B8%D0%BD%D0%B0%D1%80-%D0%BC%D0%BE%D0%BB%D0%BE%D0%B4%D1%8B%D1%85-%D0%B4%D0%B5%D1%82%D1%81%D0%BA%D0%B8%D1%85-%D0%BF%D0%B8%D1%81%D0%B0%D1%82%D0%B5%D0%BB%D0%B5%D0%B9-%D0%B2-%D0%BF\">Форум молодых писателей в Переделкино</a> (ранее — в Липках).</li>\n<li>Участвуйте в <a href=\"http://kidreader.ru/article/1784\">литературных конкурсах</a>. Я знаю литераторов, которые слышать не хотят об участии в любой конкурсной программе: «Меня будут обсуждать? Сравнивать с другими? Ужас!» В чем-то они правы. Литература не спорт, тут нет объективного критерия, чтобы отличить очень хорошую книгу от просто хорошей. Тем более в детской литературе. Что лучше: «Муха-Цокотуха» или «Гарри Поттер»? «Идет бычок, качается» или «Винни-Пух»? Однако мне кажется, что участвовать в премиях нужно. Во-первых, это может потешить ваше самолюбие, если выиграете. А проиграете — всегда можно сослаться на «все куплено» и «они там все свои». Во-вторых, это еще один способ наладить контакты с себе подобными. В-третьих, принести в издательство рукопись, на которой написано «Победитель (или финалист) такой-то премии» — гораздо лучше, чем просто рукопись. Издатель тоже человек, он падок на знаки отличия. Если пишете для маленьких, рекомендую «<a href=\"http://rosman.ru/literary-contest/2013/\">Новую детскую книгу</a>» или что-то вроде конкурса «<a href=\"http://book.foma.ru/news/konkurs_kdp\">Короткое детское произведение</a>». Для подростковой литературы в первую очередь подходят «<a href=\"http://kniguru.info/\">Книгуру</a>», <a href=\"http://litparus.ru/\">премия им. Крапивина</a> и <a href=\"http://www.svmihalkov.ru/konkurs/\">премия им. Михалкова</a>.</li>\n<li>Ходите в магазины. Зайдите в детский отдел большого книжного магазина и осмотритесь. Полистайте книги. Найдите ту, которая больше всего похожа на созданную вами рукопись. Загляните в выходные данные. Перепишите название и контактные данные издательства, которое выпустило эту книгу. Свяжитесь с ним, возможно, оно и вами заинтересуется.</li>\n</ul>\nЧего делать не стоит:\n<ul>\n<li>Писать известным писателям с просьбой о протекции. Писатели (особенно известные) — отвратительные критики. Вместо того, чтобы оценивать текст, сразу представляют, как они сами написали бы на эту тему. Но чаще всего мэтр просто откажется читать. Не обижайтесь. Когда и если вы выбьетесь в известные писатели, то поймете, что у них нет сил и времени на чтение и оценку чужих рукописей.</li>\n<li>Публиковаться на сетевых литературных ресурсах. То есть само по себе это вещь неплохая — хотя бы для того, чтобы всегда иметь под рукой тексты своих произведений. Но надеяться, что на «Прозе.ру» вас найдет и оценит издатель — наивно. Издатели на такие сайты не заходят, они по горло сыты теми рукописями, которые приходят «самотеком».</li>\n<li>Заниматься самопубликацией. В США и Великобритании в последние годы одна за другой появляются книги, которые пробились в бестселлеры мимо издателя. Например, «Дневник слабака», недавно названный <a href=\"http://www.be-in.ru/shorts/22948-diary_of_a_wimpy_kid/\">лучшей детской книгой десятилетия</a>, первоначально <a href=\"http://www.kp.by/daily/26118.5/3012173/\">опубликован на сайте FunBrain</a>. Но в России такого пока не происходит. Будем надеяться, когда-нибудь ситуация изменится, и тогда самопубликация станет нормальным способом пробиться не к издателю, а сразу к читателю.</li>\n<li>Издаваться за свой счет. Тут тоже бывают исключения, но обычно книга, напечатанная за счет автора, издателя мало интересует — он свои деньги уже получил. Издатель старается побыстрее отдать тираж автору и забыть о них обоих (тираже и авторе). Продавать свою книгу самостоятельно — это отдельное искусство. Если у вас получается, может, лучше переквалифицироваться в торговцы? Я не иронизирую, хороших продавцов детской литературы гораздо меньше, чем хороших детских писателей.</li>\n</ul>\nНо все эти рекомендации ничего не гарантируют. Вы можете пройти сито семинаров и премий, создать нужные знакомства, найти «правильное» издательство — и все равно не увидеть свою рукопись превращенной в книгу.\nА можете ничего этого не делать, послать свой текст издателю — и неожиданно добиться успеха. Это называется Удача.\nОт души желаю вам именно ее.\nАндрей Жвалевский, специально для <a href=\"http://kidreader.ru/\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:ae99961c3c08cc8e8cd0411a1979dabf' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '<div style=\"text-align: justify;\">В книгах о школьной жизни, которыми радуют в конце лета многие издательства, речь идет о детских проблемах и переживаниях, о необходимости взросления, и, конечно же, о бесконечных выдумках и приключениях, в которые попадают дети. Стоит прочитать об этом и убедиться.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\"><img src=\"/sites/default/files/rakitina_1.jpg\" width=\"153\" height=\"200\" style=\"margin-right: 10px; margin-left: 10px; float: right;\" />В издательстве «Речь» вышло два сборника рассказов Елены Ракитиной. Со своей первой книгой «Похититель домофонов», которая была выпущена издательством «Азбука» в 2009 году, Елена Ракитина стала лауреатом  Международной детской литературной премии им. В. П. Крапивина.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\">Отдельные рассказы из этой книги есть и в сборниках «Если бы у меня была своя планета» и «Большое путешествие домой», которые вышли в «Речи», но кроме них, читателей ждут новые приключения и выдумки неунывающих третьеклассников Мишки Черкашкина и Егорки Синицина. Проиллюстрировала книгу петербургская художница − Ольга Граблевская.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\"><img src=\"/sites/default/files/Dal.jpg\" width=\"141\" height=\"200\" style=\"margin-left: 10px; margin-right: 10px; float: right;\" />«Самокат» продолжает баловать нас Роальдом Далем. И на этот раз обещает нам «Матильду» − повесть, которая в 1988 была признана лучшей книгой для детей, а в 1999 году в  Международный день книги за нее как за наиболее популярную детскую книгу проголосовало пятнадцать тысяч детей в возрасте от семи до одиннадцати лет. «Матильда» уже издавалась в России и раньше, например ИД «Захаров» в 2002 году и «Росмэн−Пресс» в 2005. Теперь следом за книгами «Джеймс и чудо-персик », «Изумительный мистер Лис» и «Огромный крокодил» в серии «Роальд Даль. Фабрика сказок» выходит история о гениальной девочке, которая перевоспитывает своих родителей и выводит на чистую воду злую и жестокую директрису школы. Вообще издательство «Самокат» обещает выпустить все книги Даля. Остается потирать руки и ждать − этот чудесный английский писатель того стоит.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\"><img src=\"/sites/default/files/Bershadskaya.jpg\" width=\"172\" height=\"200\" style=\"margin-left: 10px; margin-right: 10px; float: right;\" />В книге Марии Бершадской «Большая маленькая девочка. История первая. Как приручить город», которая вышла в издательстве «КомпасГид» речь не о школе. И, казалось бы, что она делает в этом обзоре? Сейчас объясню. Эта книга первая из серии (всего их предполагается двенадцать) про семилетнюю девочку Женю, которая «выше самого высокого в мире баскетболиста − ну не намного, может, на две ладошки». Женя с родителями приезжает в большой город и пытается его «приручить». В компании давно знакомых между собой ребят сразу ее не принимают. Но Женя не унывает. Она не просто девочка очень высокого роста. Она еще и очень по-взрослому мудрая девочка: не обижаться, прощать и понимать других − очень важные качества, которыми обладает Женя. Они помогают героине найти друга и дают надежду читателям, что город будет приручен.</div>\n<div style=\"text-align: justify;\">Эта книга может здорово помочь первоклашкам адаптироваться в новом коллективе, понять, что тебя могут принять не сразу. Она делает прививку простой жизненной мудрости, которая на определенном этапе взросления становится просто необходимой.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\"><img src=\"/sites/default/files/Pichon.jpg\" width=\"126\" height=\"200\" style=\"margin-left: 10px; margin-right: 10px; float: right;\" />В личный дневник пятиклассника мы можем заглянуть благодаря Лиз Пичон. В ее книге «Мой головокружительный мир. Том Гейтс», выпущенной в «Клевер-Медиа-Групп» рассказывается о буднях обыкновенного английского мальчишки из небольшого городка от лица этого самого мальчишки − Тома Гейтса. На страницах дневника Том пишет о своей семье, школьных буднях. Рассказывает откровенно, подробно, с рисунками − чего только стоит «Автопортрет 5-го Ф». Иллюстрации, кстати, также рисовала Лиз Пичон. Она не просто пишет книги, но и иллюстрирует их сама. </div>\n<div style=\"text-align: justify;\">Как и всякому непоседливому пятикласснику, Тому всегда есть о чем рассказать. Мелкие пакости соседу по парте, репетиции собственной рок-группы, третирование старшей сестры, мечты и фантазии − все это подано с юмором и, как и полагается мальчишескому дневнику, некоторой безбашенностью. В 2011 году эта книга принесла Лиз Пичон одну из главных награду в области детской литературы — премию Роальда Даля. </div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\"><img src=\"/sites/default/files/Saharova.jpg\" width=\"173\" height=\"200\" style=\"margin-left: 10px; margin-right: 10px; float: right;\" />Издательский дом Мещерякова следом за «Академией домашних волшебников» переиздал еще одну легендарную книгу Саиды Юсуфовны Сахаровой «Чудеса в решете, или Калинкина школа для первоклассников». На мудрых советах волшебницы Калинки выросло не одно поколение советских детей. И вот теперь Калинка возвращается. </div>\n<div style=\"text-align: justify;\">С помощью наставницы Лёки Ромашовой (героини Академии домашних волшебников) первые ученики чудесной школы − близнецы Саша и Маша научатся правильно готовить завтрак, собирать портфель, распоряжаться своим временем, делать уроки. Станут ловкими, умелыми и самостоятельными − настоящими школьниками.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\"><img src=\"/sites/default/files/Nulik1.jpg\" width=\"147\" height=\"200\" style=\"margin-left: 10px; margin-right: 10px; float: right;\" />Тот же ИД Мещерякова в очередной раз переиздал книгу В. Левшина и Эм. Александровой «Приключения Нулика. Математическая трилогия». Впервые книга увидела свет в 1964 году.</div>\n<div style=\"text-align: justify;\">Многочисленные приключения Нулика из страны чисел Карликании не просто развлекут маленького читателя, но и познакомят с основными математическими понятиями. А интересные задачки в игровой форме решать намного увлекательнее.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\">Лирический герой книги «Разбегаюсь и лечу» Юлии Симбирской, выпущенной в серии «Настя и Никита» издательством «Фома», − ребенок, который как раз перешагивает важный порог в своей жизни. Ему уже хочется быть взрослым, он уже оставляется свои игрушки, но детство еще живет в нем и будет жить еще долго.</div>\n<img src=\"/sites/default/files/Simbirskay.jpg\" width=\"155\" height=\"200\" style=\"margin-left: 10px; margin-right: 10px; float: right;\" />\n<div style=\"text-align: justify; padding-left: 30px;\"> Ненужными стали игрушки:</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Солдатиков горстка, две пушки,</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Хромая лошадка, вагон без колёс.</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Я сам их на дачу сегодня отвёз.</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Сижу, ковыряю свой ужин.</div>\n<div style=\"padding-left: 30px; text-align: justify;\">А я им, наверное, нужен.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\">Поэтесса тонко подмечает детали, окружающие ребенка, улавливает интонации детской души. Очень многие из стихотворений, вышедших в этом тоненьком сборнике можно назвать настоящей лирикой для детей.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"padding-left: 30px; text-align: justify;\">Папа вернулся</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Из командировки.</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Жмутся к сапожкам</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Большие кроссовки,</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Папина куртка</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Мою обняла.</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Тоже соскучились.</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Ну и дела!</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\">Но есть в этой книге и стихи веселые, игровые.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"padding-left: 30px; text-align: justify;\">– Какой чудесный попугай!</div>\n<div style=\"padding-left: 30px; text-align: justify;\">Ты сам слепил, сынок?</div>\n<div style=\"padding-left: 30px; text-align: justify;\">– Мам, здесь табличка, прочитай.</div>\n<div style=\"padding-left: 30px; text-align: justify;\">«Висёлый насарок».</div>\n<div style=\"padding-left: 30px; text-align: justify;\"> </div>\n<div style=\"text-align: justify;\">Иллюстрации Натальи Кондратовой очень точно подходят к стихам. Тонкие, нежные они передают настроение, и, кажется, пахнут солнечным светом, летом и детством. А ведь после уроков так здорово хоть ненадолго нырнуть туда и отдохнуть.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\">Но что-то мы все о младших школьниках и пятиклассниках. Что старшеклассники уже и не люди? Неужели о них никто ничего не написал? Нет, конечно. И для них есть истории о дружбе, об отношениях с одноклассниками и о первой любви.</div>\n<div style=\"text-align: justify;\"> <img src=\"/sites/default/files/Usacheva.jpg\" width=\"122\" height=\"200\" style=\"margin-left: 10px; margin-right: 10px; float: right;\" />Так, в издательстве «Эксмо» в серии «Моя реальная жизнь. Повести для подростков» вышли книги Елены Усачевой «Три желания для золотой рыбки», «Лекарство от иллюзий», «Не время для шуток» и «Вирус любви». Эти истории по-настоящему школьные. Они не просто развлекут взрослеющего читателя, но подскажут выход из непростой ситуации, расскажут, как выстроить отношения даже с тем, с кем, казалось бы, их выстроить невозможно, научат понимать и прощать. В одном интервью Елена Усачева призналась, что писать книги ей помогают именно ее читатели. Именно встречи и беседы с современными подростками вдохновляют автора на новые книги. А сами подростки с удовольствием читают книги о своих сверстниках.</div>\n<div style=\"text-align: justify;\"> </div>\n<div style=\"text-align: justify;\">Ирина Лисова, специально для <a href=\"http://www.kidreader.ru/\">KidReader.ru</a></div>\n<div style=\"text-align: justify;\"> </div>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:c690369bc0f94e0dea1fe66f30a6b7fb' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Завтра у девятилетнего Саши Зайчика важный день: он должен стать пионером, причем галстук ему самому и его одноклассникам повяжет не кто-нибудь, а Сашин папа — настоящий коммунист и герой органов, лично разоблачивший не один десяток вредителей. На дворе 1937 год, ночью папу арестуют, а сам Саша на торжественной линейке, неловко махнув знаменем дружины, случайно отобьет нос у бюста Великого Вождя и Учителя... Любой человек, захвативший обличительную эпоху 80—90-х годов, читал немало подобных историй, а потому отлично знает, к чему ведут такие зачины, и едва ли будет сильно впечатлен. Но вышедшая на днях повесть театрального художника Евгения Ельчина (он же выступил и в роли иллюстратора) «Сталинский нос» рассчитана на детей младшего и среднего школьного возраста, ровесников злополучного Саши... Историческая трагедия таким образом перемещается из области взрослой рефлексии в поле детского осмысления, восприятия и — в перспективе — обсуждения. Книга Ельчина не без оснований претендует на звание первой детской книги о сталинизме и репрессиях. Однако она продолжает и развивает более широкий тренд.\nТенденция, предписывающая посредством художественной литературы как можно раньше включать детей в контекст взрослых проблем, сюжетов и отношений, зародилась несколько лет назад и с тех пор только набирает авторитет среди вдумчивых родителей. У этого процесса есть несколько возможных объяснений. Так, по мнению Юлии Загачин, директора издательства «Розовый жираф» (именно там вышел «Сталинский нос»), это результат общего увеличения количества детских книг по сравнению с катастрофическим провалом 90-х годов. «Появление книг на так называемые трудные темы — это логичное следствие того, что книг вообще стало больше, — полагает издатель. — У юного читателя появляется выбор, и он закономерным образом хочет читать в том числе и о тех проблемах, которые переживаются в жизни». По мнению педагога и переводчика детской литературы Ольги Варшавер, интерес детских авторов к «недетским темам» связан в первую очередь с тем, что окружающая жизнь становится все более жесткой: «Пропасть между литературой и жизнью все заметнее, и мудрые люди ее не углубляют, а перекидывают какие-то мостки, готовят детей к встрече с реальностью».\nА вот с точки зрения психологии никаких «тяжелых» или «страшных» для детского восприятия тем в принципе не существует — есть лишь темы, на которые трудно говорить самим взрослым, да недетские методы их подачи. «Представления ребенка о «страшном» или «запретном» — это культурный конструкт. Младенец на рефлекторном уровне боится буквально нескольких вещей — например, черно-оранжевых полосок в окрасе животных, — рассказывает семейный психотерапевт Екатерина Кадиева. — Про все остальные страхи он узнает от нас, взрослых. Поэтому нет ничего страшного или вредного в том, чтобы говорить с ребенком на «страшные» или «неудобные» темы — такие, как, например, смерть. Главное в этом разговоре не перегружать ребенка собственными негативными эмоциями и страхами, избегать излишних подробностей, стараться делать это в доступной и комфортной для него форме».\nСекс, наркотики, рок-н-ролл\nТем, о которых не принято сегодня говорить в книгах с детьми, практически не осталось. Застрельщиками выступили скандинавы. Опираясь на традицию, восходящую еще к прозе Астрид Линдгрен, они начали одну за другой выдавать детские книги, повествующие о вещах сугубо недетских. Писательница и художник-иллюстратор Пернилла Стальфельт решилась поговорить с детьми трех — пяти лет о смерти («Книга о смерти»), о любви во всем ее многообразии («Книга о любви»), а также о толерантности и различиях между людьми («Одного поля ягоды»). Катерина Януш и Мерви Линдман взялись ответить на краеугольный вопрос «Откуда берутся дети?» — их иллюстрированная книга «Как я появился на свет» остается безусловным бестселлером на протяжении восьми лет. Мария Парр в повестях «Тоня Глиммердал» и «Вафельное сердце» осмелилась достаточно жестко и прямо говорить с детьми о смерти близких и переживании утраты. Анника Тор в трилогии «Остров в море» обратилась к истории Холокоста. А Мони Нильсон-Брэнстрем в серии книг о мальчике по имени Цацики в деталях рассмотрела крайне нестандартную семейную модель.\nВпрочем, скандинавы недолго удерживали пальму первенства: очень скоро в пробитую ими брешь устремились авторы из других стран. Немка Беате Тереза Ханика в <a href=\"http://www.kidreader.ru/article/1128\">нашумевшей повести</a> «Скажи, Красная Шапочка» исследовала вопрос сексуального насилия в семье, француженка Мари-Од Мюрай романом Oh, boy! разом фактически закрыла для детей темы СПИДа, наркомании, гомосексуализма и сиротства, а ее соотечественник Жан-Клод Мурлева («Зимняя битва») и американка Лоис Лоури («Дающий») и вовсе ухитрились протащить в детскую литературу жанр антиутопии... В России «недетской детской» прозы пока пишут немного, однако появление таких книг, как «Где нет зимы» Дины Сабитовой (об усыновленных детях) или «Класс коррекции» Екатерины Мурашовой (о трудных подростках), говорит, что массовый расцвет этого типа литературы у нас дело ближайших нескольких лет.\nНо дискуссия о том, не лишаем ли мы детей детства, заставляя их раньше времени читать о болезненном и неприятном, пока не завершена. Так, минувшим летом выход в России уже упомянутой книги Беате Терезы Ханики «Скажи, Красная Шапочка» сопровождался скандалом: многие критики сочли этот роман жестким и не подходящим для подросткового чтения. Должны ли какие-то темы оставаться для детей табу и не приведет ли отказ от «цензуры» к преждевременному и болезненному взрослению, обсуждают и родители, и издатели, и психологи. Юлия Загачин считает, что для опасений нет причины. «Я всегда была с родителями рядом: и когда приходили гости и велись разговоры обо всем на свете, и когда они ездили в больницу к своему искалеченному в аварии другу, и «Архипелаг ГУЛАГ» они дали прочитать мне, когда читали его сами, — рассказывает издатель. — Они не создавали специальной детской среды для меня. Я считаю, что ребенка лишить детства невозможно. Можно относиться к нему либо как к человеку, либо как к беспомощному новорожденному, которого нужно постоянно опекать и ограждать от жизни. Во втором случае сложнее требовать от выросшего ребенка ответственных решений». Да и вообще некий обобщенный «юный читатель» — абстракция сродни средней температуре по больнице. «Я не верю в существование такой категории, как «дети». Дети — это очень разные люди, они делятся на разные целевые аудитории точно так же, как и взрослые, — полагает писательница Линор Горалик. — Бывают дети, для которых книги про страшное или больное в определенный момент оказываются очень кстати. А других детей эти же книги могут никогда не взволновать».\nКниги надо выбирать в соответствии с возрастом ребенка, причем возрастом внутренним, а не календарным: порой всего один год разницы способен предопределить разное восприятие одних и тех те сюжетов. И не обязательно, чтобы переход от поэтичных сказок к суровой реальности был резким. «Есть такая замечательная писательница — Кейт ДиКамилло, — рассказывает Ольга Варшавер. — В своих книгах она вообще-то говорит о вещах достаточно страшных и серьезных — об утрате близких, об одиночестве, о жизни во враждебном окружении... Однако делает она это в такой смягченной, сказочной форме, что ребенок не ухается с размаху в яму реальности, но получает возможность выйти в некое особое пространство, где все соответствующие эмоции переживаются глубоко и полно, но при этом отстраненно, а значит, нетравматично».\nНикогда не разговаривай с незнакомцами\nИ все же энтузиазм, с которым родители порой подталкивают своих детей к «недетским» книгам, заставляет заподозрить их в некоторой корысти — часто родители пытаются «заговорить» собственный страх, убедить себя в том, что их ребенок предупрежден о возможной опасности, а значит, готов к встрече с ней. К примеру, родители часто говорят с детьми о том, что пугает их самих, а не о том, что опасно по-настоящему. «В Америке в 1970-е была традиция, получившая название stranger danger, — рассказывает Линор Горалик. — В книгах, фильмах, телешоу детям внушалось, будто главную опасность для них представляют незнакомцы — с ними нельзя было разговаривать, у них нельзя было брать конфеты и т. д. Впоследствии исследования показали, что от 60 до 80 процентов случаев насилия (любого — от сексуального до психологического) совершаются не чужаками, а знакомыми или родными. Родители не были готовы сказать своим детям: это может быть кто-то, кого ты знаешь. И как результат Америка до сих пор расхлебывает эти проблемы. Целое поколение, выросшее в ужасе перед незнакомцами, оказалось не готово к встрече с истинной опасностью».\nОднако говорить о том, что родители потакают только собственным страхам, тоже не вполне корректно. «Мы же даем детям образование, правда? — рассуждает Ольга Варшавер. — И чаще всего в этом случае инициатива тоже исходит не от ребенка. Понимание того, как устроен мир, исторического прошлого нашей страны — все это должно войти в генетический код и память, даже если на первых порах покажется болезненным. Детям же делают прививки, хотя укол — это больно». Кажется, эту точку зрения разделяет государство. Несмотря на панику, охватившую издателей после принятия скандального закона о защите детей от информации, причиняющей вред их здоровью и развитию, никаких практических шагов по его реализации в деле книгоиздания до сих пор не предпринято. Ни одна — даже самая смелая и нетрадиционная — книга не стала объектом идеологического преследования из-за потенциальной тематической «вредоносности». Конечно, можно параноидальным образом предположить, что у властей просто пока не доходят до этого руки. Однако, как показывает практика, подобная сдержанность скорее означает негласную поддержку со стороны властей. А значит, тенденция говорить в детских книгах о важном и трудном пришла к нам надолго.\nГалина Юзефович, источник: <a href=\"http://www.itogi.ru/kniga/2013/14/188743.html\" target=\"_blank\">Итоги</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:17dba4c5f0cae44a005d2bded44bd69e' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Продолжим разговор о книжных новинках (первая часть обзора была <a href=\"http://kidreader.ru/article/1223\">опубликована ранее</a>), которые могут быть интересны подросткам. Так получилось, что все книги, о которых пойдет рассказ, в книжных магазинах запросто могут оказаться задвинутыми в рубрику или на полку-резервацию «для девочек и о девочках», потому что продавцы частенько ориентируются только на заглавия и аннотации. Но пусть вас это не обманет! Книги эти в равной степени лягут на душу любому читателю, да и персонажи в них очень разнообразны.\nНачнем со звезды современной английской литературы — Терри Пратчетта. Вряд ли он нуждается в представлении, но все же напомним: за свои литературные труды писатель был награжден Орденом Британской Империи, в 2009 году посвящен в рыцари, а суммарный тираж его книг составляет более 70 миллионов экземпляров. Нам на радость издательство «Эксмо» выпустило новую книгу Пратчетта из серии о Плоском мире, удачно назвав ее в переводе «Пехотной балладой». (Терри Пратчетт. Пехотная баллада. Эксмо, 2013). Вы угадали: эхо знаменитого фильма Эльдара Рязанова звучит тут не зря, и книжка действительно о девушке, которая переоделась юношей и убежала на войну. Этим сходство с «Гусарской балладой» и исчерпывается. Хотя присущий Пратчетту юмор здесь есть, но, поскольку книга все-таки о войне, по настроению она сумрачная.\n<img src=\"/sites/default/files/pratchet1.jpg\" width=\"300\" height=\"484\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\n…Юная Полли Перкс, дочь трактирщика, и в мирное время была девушка не промах и умела постоять за себя, к тому же на ее плечах лежала ответственность за отцовский трактир. Когда брат Полли пропал без вести на войне между фантастическими странами Борогравией и Злобенией, отважная барышня отрезала косу, переоделась юношей и отправилась воевать и искать брата. В полку новобранцев она оказалась не единственной «кавалерист-девицей», и к тому же вокруг, как всегда в книгах Пратчетта, были не только люди, но и представители иных рас, которые у сэра Терри неизменно обрисованы совсем как живые, даже если они зомби или вампиры.\nХотя многие героини Пратчетта, например, ведьмы-недотепы Агнесса Нитт и Маграт Чесногк, уже вышли из подросткового возраста, их душевные терзания, влюбленности и амбиции будут очень понятны и близки подросткам, независимо от пола. А уж захватывающие приключения — тем более. К тому же для Пратчетта любые лихие сюжетные повороты — лишь повод, чтобы заставить читателя задуматься. Задуматься об очень серьезных вопросах. В «Пехотной балладе» — о любви, войне, мире, стереотипах и предрассудках, связанных с тем, к какому полу ты принадлежишь; о бессовестности политиков, о «маленьком человеке» и о том, кто он — винтик большой машины или песчинка, способная перевесить на весах Истории? И о патриотизме, между прочим, тоже. На тему патриотизма сложно написать так, чтобы получилось не ходульно, не шаблонно, а от души и с умом. Пратчетт — сумел.\nКак и все книжки «Плоского мира», «Пехотную балладу» (в оригинале «Monstrous Regiment»), 31-ю в «Плоском мире», можно читать отдельно от серии, но после нее, если она для вас — первое знакомство с Пратчеттом, неизбежно захочется добавки и продолжения, потому что остроумие, мудрость и безудержная фантазия этого автора вызывают самое что ни на есть настоящее привыкание! Конечно, история о девушке, переодетой юношей, берет свое начало аж в шекспировских пьесах, но жанры исторического романа, романа плаща и шпаги, фэнтези и альтернативной истории растиражировали этот образ и даже изрядно его затерли. Однако героиня у Пратчетта получилась оригинальная и яркая.\nТерри Пратчетта принято называть автором юмористического фэнтези. Это не совсем так. Смотря какой юмор иметь в виду. Раблезианский юмор у Пратчетта встречается, потому что придуманный им Плоский мир и особенно город Анк-Морпорк населены вполне приземленными людьми (и нелюдями). Но Пратчетт умудряется писать так, что его соленые шутки все равно изящны и не грубы, да и сочетаются они с тонкой интеллектуальной иронией. Как уже было сказано, Пратчетт — автор, который заставляет задуматься, даже когда пишет смешно, но о серьезном. Более того, его открытия и умозаключения, связанные с мироустройством, магией и волшебством, куда глубже, чем у беспросветно серьезных авторов многих пафосных, тяжеловесных и безъюморных саг. В отличие от Анджея Сапковского, Пратчетт никогда не доходит до эротических сцен, словно бы рожденных воспаленным воображением озабоченного подростка, и не давит на кнопки эстетики отвратительного. Словом, это гармоничный автор — и когда пишет адресно для детей (см. трилогию о мальчике Джонни, «Только ты можешь спасти человечество», «Джонни и бомба», «Джонни и мертвецы»), и когда создает книги о Плоском Мире.\nПохоже, Пратчетт — один из учителей Александры Егорушкиной, чья четвертая книга из серии о Настоящей принцессе вышла в 2012 году в издательстве «Wexler» вместе с новым изданием первых трех. Теперь читатель наконец-то может познакомиться со всей серией целиком и, главное, узнать, чем завершились приключения героев. Вообще четвертую книгу можно читать и отдельно, но лучше все-таки соблюдать порядок чтения. (Александра Егорушкина. Настоящая принцесса и Бродячий Мостик. Настоящая принцесса и Летучий Корабль. Настоящая принцесса и Снежная Осень. Настоящая Принцесса и Наследство Колдуна. Wexler, 2012). Книги существуют и в бумажном варианте с иллюстрациями и обложками Д. Непомнящего и О. Попугаевой, и в электронном. Книги Егорушкиной выходят с 2002 года и, несмотря на почти полное отсутствие рекламы, у них есть давний круг поклонников, а старые издания уже стали библиографической редкостью. Автор работает в жанре литературной сказки. К учителям своим относит Астрид Линдгрен, Туве Янссон, Радия Погодина, Януша Корчака, Юрия Олешу, Терри Пратчетта, Дж. Р. Р. Толкина и Диану Уинн Джонс.\nА. Егорушкина пишет сказки прежде всего петербургские, и это очень важно, потому что таких книг сейчас мало. Петербург для нее — то же самое, что Лондон Шерлока Холмса для Конан-Дойля или Париж «Нотр-Дама» для Гюго: полноправное действующее лицо и источник яркого колорита. А еще это сказки музыкальные, книжные и музейные, потому что огромную роль в сюжете играет магия, связанная с перечисленными сферами. На страницах серии о Настоящей принцессе Лиллибет, она же петербургская школьница Лиза Кудрявцева, оживают городские легенды, разгуливают памятники, сходят со стен домов кариатиды и атланты, вмешиваются в сюжет питерские наводнения и морозы и даже…городские коты и крысы. Кроме Петербурга, в книгах Егорушкиной фигурируют разные неповторимые сказочные миры: уютное королевство Радинглен, воинственная заморская страна Ажурия, северный Амберхавен — место, где располагается Магический Факультет.\n<img src=\"/sites/default/files/princ_all.jpg\" width=\"500\" height=\"270\" style=\"display: block; margin-left: auto; margin-right: auto;\" /> \nНесмотря на «девичье» название серии, в триаде главных героев-школьников, кроме Лизы — скрипачки, наследной принцессы и музыкальной волшебницы, — есть еще два совершенно непохожих между собой мальчика. Один — бесшабашный юный дракончик Костя Царапкин, а второй — смекалистый, эрудированный Лева Аствацатуров, потомок подземного народа — гномов. В первой книге, «Настоящая принцесса и Бродячий Мостик», эти трое только-только узнают, как связаны их судьбы и судьба Петербурга с маленьким королевством Радинглен, где обитают гномы, сильфы, волшебники, говорящие коты, а также гоблины и тролли. Лизе с помощью друзей и мудрого, ироничного учителя — волшебника Филина, который умеет превращаться в птицу,  — предстоит прогнать из родного королевства узурпатора, злого колдуна Мутабора, и отыскать брата, с которым ее разлучили в детстве. Во второй книге, «Настоящая принцесса и Летучий Корабль», в планы Лизы, ее брата Инго и их друзей вмешивается амбициозная и коварная одноклассница Юлечка, вообразившая себя ведьмой и ставшая марионеткой злых сил — Мутабора и его приспешников. В этой книге читатель вместе с героями переносится в военизированное королевство Ажурия, помешанное на муштре и патриотических лозунгах.\nВ третьей книге, «Настоящая принцесса и Снежная Осень», схватка Лизы, ее брата и друзей со злыми силами разворачивается по преимуществу в декорациях Петербурга, который герои книги отстаивают от бессмертного колдуна Мутабора в его новом воплощении. На стороне Мутабора — взбунтовавшиеся городские статуи и крысы, а Лизу поддерживают не только старые друзья, но и новые — эрмитажный хранитель Смуров и дети-музыканты. Если первая книга — литературная игра в старые сказки, вторая — немного антиутопия, а отчасти героический «квест», то третья — своего рода мистический триллер. В четвертой книге, «Настоящая принцесса и Наследство Колдуна», соединяются семейная сага и искусствоведческий детектив, потому что Лиза с друзьями разгадывают загадку фамильного портрета и множество тайн прошлого, ищут молодильные яблоки и, наконец, объявляют настоящую войну страшному наследству колдуна Мутабора — Черному Замку, странствующему между мирами…\nКниги серии рассчитаны на читателей среднего и старшего школьного возраста, но взрослым, тем, кто любит фэнтези и сказки, тоже понравятся. (В самом начале главной героине 12 лет, к последней книге — 14, а другие герои и постарше). Любители бурного действия (оно же «экшн») найдут здесь «киногеничные» закрученные сюжеты, а ценители литературной игры — всякие потайные устройства и шарады. Даже стихи — и то есть.\nМного стихов и в книге, которую хочется посоветовать снять, что называется, с соседней полки книжного магазина — полки мемуаров, которые вроде бы подросткам и не адресованы, строго говоря. Это первая часть воспоминаний Ирины Одоевцевой «На берегах Невы» (ИГ «Лениздат», 2012). Но, во-первых, если даже дети всегда стремятся заглянуть в книги для взрослых, то уж подростки тем более любят читать не только о ровесниках, но и о тех, кто постарше. А во-вторых, голос, которым разговаривают с читателем мемуары Одоевцевой — удивительно юный, девчачий, порой легкомысленный, а порой и трепещущий от волнения. Такой себя запомнила эта удивительная женщина.\n<img src=\"/sites/default/files/odoev_1.jpg\" width=\"300\" height=\"450\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nОдоевцева прожила без малого сто лет (1895–1990), была свидетельницей революции, затем прожила в эмиграции более полувека и вернулась в Россию. Хотя свои воспоминания эта поэтесса уникальной судьбы и долголетия писала уже в старости, со страниц ее книги с нами беседует самолюбивая, взбалмошная, ранимая, влюбленная в поэзию и поэтов девушка, петербургская барышня, которую бы сейчас назвали настоящей «тусовщицей». В голодном, холодном, нетопленом Петрограде первых послереволюционных лет, когда так ценно сбереженное бальное платье, флакончик духов, чудом уцелевшая пудреница, когда вокруг аресты, расстрелы, когда будущее неясно, эта девушка бегает по всему городу на литературные вечера и старательно занимается в студии Николая Степановича Гумилева «Звучащая раковина», становясь его верной ученицей. В мемуарах Одоевцева зафиксировала Петроград литературный, музыкальный и художественный.  Ей выпало счастье лично знать А. Ахматову, О. Мандельштама, А. Блока, Андрея Белого, М. Лозинского и множество ярчайших людей того времени. Кто-то тогда был для нее старшим авторитетом, предметом восхищения и влюбленности, кто-то — ровесником: поклонником, другом. И обо всех Одоевцева рассказывает занимательные, местами смешные, местами трогательные истории. «На берегах Невы» — настоящая машина времени: читатель отправляется в прошлое, как живые видит лица поэтов и их окружения, узнает, что их волновало и даже знакомится с бытовыми подробностями тех лет (чтение стихов по кругу, сидя в шубах, под питье морковного чая с изюмом — где еще об этом узнает читатель-подросток?) Книга читается легко, на одном дыхании. Переклички между прошлым и будущим ощущаешь очень обостренно: многое повторяется в наши дни — трепетное отношение к стихам, учителям, влюбленности, литературные объединения, соперничество и ревность... Для юных поэтов, для тех, кто любит стихи и особенно поэзию Серебряного века, она станет настоящим подарком и своего рода «магическим порталом» в ту эпоху, а еще — наверняка разожжет интерес к дальнейшему чтению литературных воспоминаний.\nЖ. Васильева, специально для <a href=\"http://www.kidreader.ru\">KidReader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:66e4d130755f5be5e43d0abe3b9f8be8' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Подростковая литература, как известно, — самая тяжелая для издателей часть детского книжного рынка. Ведь подростки сегодня почти не читают. Родители разводят руками: «Моему ребенку это совсем не интересно…» Может быть, именно поэтому опыты самых упорных и настойчивых издателей литературы для подростков так интересны? В первой части обзора зарубежной подростковой литературы KidReader.ru рассказывает о книгах англичанки Дианы Уинн Джонс и нашумевшем бестселлера Джеффа Кинни «Дневник слабака».\nИздательство «Азбука» выпустило сразу три книги английской писательницы Дианы Уинн Джонс («Моя тетушка — ведьма», «Рыцарь на золотом коне» и «Ловушка для волшебников», Азбука, 2012, 2013). Для давних поклонников Д. У. Джонс — событие и настоящий праздник, поскольку каждую новую книгу они ждут с нетерпением. А для тех, кому это имя пока что незнакомо, несколько слов об авторе. Д. У. Джонс стали переводить на русский с большим опозданием, лишь в последние лет десять, а между тем это яркий и самобытный автор, классик английской литературы для детей и подростков, чьи книги, впрочем, с большим удовольствием и душевной пользой читают и взрослые. У нас Джонс известна прежде всего «через кино», поскольку ее книгу «Ходячий замок Хоула» экранизировал мэтр анимэ Хаяо Миядзаки (добавим, довольно далеко отклонившись от оригинала). Еще Диана известна как один из авторов, сильно повлиявших на Роулинг, хотя создательница «Гарри Поттера» это яростно отрицает.\nВ прошлом году «Азбука» уже издала заключительную, третью книгу о персонажах «Ходячего замка» — «Дом с характером». А вот три новинки, о которых речь идет сейчас, можно читать совершенно независимо друг от друга, они, что называется, внесерийные. Пишет Диана неизменно увлекательно и захватывающе, но не приключенческая составляющая в ее книгах главное, хотя они и динамичны, и интересны. Главное в них — тонкая авторская ирония, глубокое понимание детской психологии и то подлинное волшебство, тайна которого — не в нагромождении литературных спецэффектов, а в умении каждый раз создать неповторимый мир и героев. Диана никогда не выжимает из читателя слезу, хотя часто и с большим пониманием пишет о детях обиженных, обделенных любовью и вниманием. О том, как несправедливы и душевно близоруки бывают взрослые. И о том, как со всем этим справиться. Можно с уверенностью сказать, что большинство книг автора — своего рода психотерапия, каждую книгу проживаешь и узнаешь что-то новое о себе и окружающих. Именно это роднит автора с ее учителями — Дж. Р. Р. Толкином и К. С. Льюисом, у которых она когда-то слушала лекции в Оксфорде. В каком-то смысле Джонс пишет притчи. Ее герои, хотя вроде бы и живут или в сказочных мирах, или в невеселой Англии времен Маргарет Тэтчер, на самом деле существуют вне времени, и они совершенно понятны современному подростку.\n«Моя тетушка — ведьма» — это запутанная и сумрачная история о брате и сестре, которые вынуждены гостить у престарелой тетушки Марии, властно и единолично правящей провинциальным городком у моря.\n<img src=\"/sites/default/files/obzor_vedma.jpg\" width=\"300\" height=\"468\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nПод личиной слабосильной елейной старушки прячется злая колдунья и настоящий диктатор. Да если бы и не было у тетушки колдовских способностей, все равно она — хорошо знакомый типаж манипулятора. Поэтому ершистый Крис и упрямая Мидж стараются оказать ей сопротивление, как могут. И не зря, ведь без них население городка совсем пропадет, замученными тенями будут бродить сироты из местного приюта и никогда не освободятся от злых чар те, кто томится в плену. Главное в этой истории, пожалуй, то, что она рассказывает подростку о необходимости говорить «нет», об умении постоять за себя и о том, насколько разными бывают взрослые.\n«Рыцарь на золотом коне» — один из самых сильных и необычных романов Джонс. Даже и не скажешь, кому он адресован: подросткам или взрослым. Наверно, и тем и другим.\n<img src=\"/sites/default/files/obzor_ricar.jpg\" width=\"300\" height=\"468\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nЭто пронзительная, щемящая история о девочке по имени Полли, чья судьба превращается в поле битвы разводящихся родителей. Те в пылу конфликта даже не замечают, сколько душевной боли причиняют дочери. И Полли еще ребенком уходит в мир своих литературных фантазий, где встречает удивительного музыканта по имени Том, которому суждено стать ее верным рыцарем и другом. Дружба продолжается много лет, придуманные Полли и Томом истории становятся явью и начинают угрожать своим создателям, а злые силы норовят стереть из памяти Полли всякий след ее искренней любви к Тому. Реальность в этой книге переплетена с вымыслом так же виртуозно, как в бессмертной книге «Убить пересмешника» Харпер Ли — и к тому же причудливое переплетение завязано на традиционные сказочные сюжеты. Так что читатель эрудированный здесь получит сильное преимущество: ему, как и всегда бывает с книгами Джонс, откроются дополнительные грани сюжета. Но в любом случае «Рыцарь на золотом коне» — из тех книг, которые меняют читателя: после нее смотришь на мир по-иному.\n«Ловушка для волшебников» поначалу напоминает комический детектив, но чем дальше читаешь, тем явственнее видишь философскую подкладку этой истории.\n<img src=\"/sites/default/files/obzor_lovushka.jpg\" width=\"300\" height=\"468\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВернувшись домой из школы, подросток Ховард обнаруживает, что у них дома в кухне обосновался некий Громила и требует с его отца «должок в две тысячи». Папа Ховарда — писатель, и вскоре выясняется, что должок состоит из слов, которые папа упорно не хочет писать. Ни волевая мама-учительница, ни сестренка Ховарда, непредсказуемая маленькая девочка по прозвищу Катастрофа, — не могут выставить Громилу за дверь. В наказание за задолженность хозяин Громилы, таинственный Арчер, напускает на семью Ховарда уйму бытовых трудностей, и Ховарду с Катастрофой приходится взяться за своего рода расследование, иначе они так и будут сидеть без тепла и света и жарить сосиски в саду на костре. Кто же такой Арчер, кто его соратники, ополчившиеся на семью Ховарда и управляющие всем городом? И почему слова имеют в этой истории такую власть? Как всегда у Дианы У. Джонс, история не обошлась без волшебства и даже путешествий во времени. Но сквозь хитроумные и непредсказуемые сюжетные повороты проступает главное: притча о совести и о том, как сохранить свое «я».\nА вот с нашумевшей книгой Джеффа Кинни <a href=\"http://www.kidreader.ru/book/623\">«Дневник слабака»</a> не все так просто (Д.Кинни. Дневник слабака. Издательство «Рид-Медиа». 2012). Ажиотаж вокруг нее велик, тиражи немаленькие, рекламы много, есть и американская экранизация в жанре школьной комедии. Да и одной книгой автор решил не ограничиться, а написал сразу целую серию, просто на русский пока переведено не все. Однако книжка Кинни производит двойственное впечатление, и непросто решить, стоит ли ее читать или нет. Тут, как поется в известной песенке, «думайте сами, решайте сами, иметь или не иметь».\n<img src=\"/sites/default/files/Dnevnik_slabaka_3Da.jpg\" width=\"264\" height=\"294\" style=\"display: block; margin-left: auto; margin-right: auto;\" />\nВ чем же загвоздка? С одной стороны, книга вроде бы носит откровенно развлекательный характер. Если вы считаете, что те многочисленные комедии и сериалы, где за кадром гремит хоххот, а юмор частенько скатывается на уровень «ниже пояса», — нормальная и уместная форма развлечения, то «Дневник слабака» — в своем роде детско-подростковый вариант этих «ситкомов» и комических зарисовок-скетчей, как их называли раньше. Голову они не перегружают, думать не заставляют, так чего же еще? Правда, «Дневник слабака» невозможно сравнить с гэгами старой комедии положений, где физически неуклюжие и нелепые персонажи постоянно влипали в забавные истории (а это, стоит ли напоминать, давняя традиция в кино, еще со времен Великого Немого, которая благополучно дожила до итальянской и французской комедии положений c Ришаром и Челентано). Но все же «Дневник слабака» — нечто совсем иное. Все-таки в персонажах старых комедий была какая-то цельность и душевная чистота, а в фильмах про них – подкупающая наивность. К тому же, они были лишены претензий на поучение.\nДжефф Кинни, для которого «Дневник слабака» стал дебютом, занимается комиксами и свою книжку проиллюстрировал сам. Но книга явно претендует на нечто большее, чем развлечение,  и обещает дать ответы на какие-то существенные для подростка вопросы. Автор явно хотел одновременно и развлечь школьников, и вывести, пусть неявно, некую мораль, просто не очень ее педалировал, за что ему, пожалуй, спасибо. Мораль эта проста: «будь собой и принимай себя таким, какой ты есть, и тогда все сложится прекрасно и тебе обязательно повезет». Именно по этому принципу и живет главный герой  — школьник Грег Хаффли, страстный любитель компьютерных игр, недотепа, объект школьных насмешек и спасибо, что не травли, — словом, так называемый слабак. Правда, слабак — это не значит чудак, книжник или, как теперь говорят, «ботаник». Страсть к компьютерным играм вовсе не говорит о том, что Грег умен, хотя порой он умудряется проявить жуликоватую предприимчивость. Но он не смекалист, не храбр, не умеет постоять за себя, не отличается независимостью, словом, он… никакой. И приятеля выбрал себе под стать. Вместе они то и дело попадают в переплет. Оба страх как жаждут приобрести благосклонность однокашников («стать популярными»). Есть у Грега мама и папа (выставленные в книге полными посмешищами, почти как взрослые в язвительной юмористической книге Саймона Бретта «Маленький негодник»), есть старший брат, большой поклонник тяжелого рока, и есть младший братишка, изрядный шалун. Сюжет книги составляют разные вроде бы забавные происшествия, которые приключаются с детьми и взрослыми. Но почему-то не запоминаются. Возможно, потому, что в книге нет никакого внятного конфликта. А ведь он бы очень ее оживил и никак не противоречил юмористической и развлекательной форме. Вот и получается, что закрываешь книгу, и в памяти она не остается. Было смешно? Да, если вы любите «простой» юмор. Вы стали умнее или добрее, прочитав «Дневник слабака»? Непонятно… Подросток, возможно, на каком-то подсознательном уровне запомнит идею, что надо принимать себя таким как есть. Главное, чтобы она не переросла в идею «все получится само, не надо работать над собой и к чему-то стремиться». Эта идея и в сказочном мире, где к Емеле является щука, не очень-то хороша, а уж в реальном, обрисованном Джеффом Кинни, просто бесполезна.\nКогда читаешь «Дневник слабака», поневоле напрашивается сравнение с другим дневником школьника-подростка, вернее, целой серией, написанной в 1980-е годы англичанкой Сью Таунсенд. Именно она придумала «белую ворону» Адриана Моула, книжки про которого — «Дневник Адриана Моула» и «Страдания Адриана Моула» и др. с успехом переиздаются до сих пор. Это тоже, по сути, развлекательное чтение, где вдоволь тонкой английской иронии.\nЧто безусловно огорчительно в русском издании «Дневника слабака» — это качество перевода. Здесь мы находим сленг, калькирование и речевые ошибки. Сленг, как известно, очень быстро устаревает, к тому же переводчик предпочел нашпиговать текст довольно грубыми вариантами. Безграмотность же в детских книгах недопустима вообще, и вряд ли надо объяснять, почему. В русском тексте встречаются, например, такие слова как «чморить», «бабло», «журналюги», конечно же, неизбежная парочка: «клевый» и «крутой», а также «чувак», «примочки» и еще много подобного. Не подумав поискать русские аналоги, переводчик вставляет в текст выражения и слова типа «горячая новость», «журнал» (буквальный перевод с английского “journal” вместо «дневник»), целыми фразами громоздит кальки: «Очень плохо мне привыкается к факту, что лето закончилось».\nЗаметим, что подобная история уже была с переводами «Гарри Поттера», и оба раза издатели торопятся и не успевают выбрать лучшего переводчика для нашумевшей и востребованной книги. Очень и очень жаль.\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:bfcc6cafa7aa776538933bb079793790' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Когда моей дочери было 18 месяцев, мы решили взять ее c собой в отпуск. Выбрав городок в нескольких часах езды от Парижа, мы забронировали номер в гостинице. Горошинка (так мы называем дочь) на тот момент была нашим единственным ребенком, поэтому мы постоянно спрашивали себя, что это будет.\nЗавтракали мы в гостинице, а обедать и ужинать ходили в ресторанчики, расположенные в районе старого порта. Вскоре мы поняли, что поход в ресторан дважды в день с маленьким ребенком, — это сущий ад.\nУже через несколько минут после начала трапезы наша дочь высыпала соль из солонок и разрывала пакетики с сахаром. Потом она требовала, чтобы ее вытащили из детского стульчика. Она хотела бегать по ресторану, ее тянуло в сторону причала, где, разумеется, было небезопасно.\nНаша стратегия заключалась в том, чтобы есть как можно быстрее. Мы заказывали еду на пути к столику, затем просили официанта побыстрее подать все блюда сразу. Пока мой муж ел, я следила за Горошинкой, чтобы она не мешалась под ногами у официантов или не свалилась в море. Потом мы менялись. Чтобы компенсировать труд официантов по уборке столика, на котором остались разорванные салфетки вперемежку с кальмарами, мы оставляли огромные чаевые.\nПосле нескольких изматывающих походов в ресторан я начала замечать, что французские семьи, сидящие рядом, не испытывали подобных проблем. Как это ни удивительно они выглядели так, как выглядят люди на отдыхе. Довольные малыши сидели в детских стульчиках и ждали свою еду, ели рыбу и даже овощи. Никто не кричал, не хныкал и  вокруг столиков было чисто.\nНесмотря на то, что к тому времени я жила во Франции уже несколько лет, я не могла объяснить эти различия. И когда я задумалась о том, как французы воспитывают своих детей, я поняла, что отличия между моими и французскими детьми видны не только за столом. Внезапно у меня появилось много вопросов. Почему, например, на детских площадках, я никогда не видела, чтобы дети демонстрировали свой характер? Почему мои французские друзья никогда не бросали трубку из-за того, что в момент разговора их дети чего-то требовали? Почему их гостиные не были завалены детскими игрушками вперемежку с туалетной бумагой?\nВскоре мне стало ясно, что не спеша французские родители добивались результатов, которые позволяли сформировать совершенно иную атмосферу семейной жизни. Когда американские семьи приходили к нам в гости, родители обычно проводили большую часть времени разбирая ссоры детей, помогая малышам ползать вокруг нас или строя на полу города из конструктора «Lego». А когда приходили французские друзья, взрослые пили кофе, а дети играли сами и были счастливы.\nК концу нашего испорченного отпуска я решила выяснить, что французские родители делают иначе. Почему французские дети не плюются едой? Почему их родители не кричат? Могу ли я что-то изменить и добиться таких же результатов с моим ребенком?\nОтчасти от своего родительского бессилия, я провела несколько лет изучая, как французы воспитывают детей. И сейчас, когда Горошинке шесть, а близнецам по три года, я могу сказать следующее: французы неидеальны, но они знают несколько правил, которые действительно работают.\nВпервые я поняла, что это интересный вопрос, когда в 2009 году нашла исследование, в котором сравнивался опыт воспитания детей в Америке и во Франции. Исследователи Принстонского университета установили, что американские мамы считали занятия с детьми крайне неприятной обязанностью. Согласно другому исследованию тех же ученых, матери в Техасе заявили, что даже работа по дому приятнее, чем уход за детьми.\nХочу вас заверить, что я ни в коей мере не превозношу французов. Наоборот, я не могу сказать, что мне нравится жить во Франции или что мне хотелось бы, чтобы мои дети со временем стали похожи на высокомерных парижан.\nОднако я могу сказать, что в вопросах воспитания Франция многим даст фору. У французских родителей, принадлежащих к среднему классу (я не рассматривала очень богатых или бедных), понятные мне ценности. Они увлеченно разговаривают со своими детьми, рассказывая им о природе, часто читают им вслух. Они водят детей на уроки игры в теннис, на уроки рисования и в интерактивные музеи.\nПри этом французам удается не быть навязчивыми в общении с семьей. Они полагают, что даже хорошие родители не всегда должны быть в полном распоряжении детей, и что не нужно чувствовать себя виноватым, если вы уделяете время себе. «Я считаю, что вечера — для родителей, — сказала мне одна мама, живущая в Париже. — Моя дочь может быть с нами, если захочет, но это время для взрослых». Французские родители хотят, чтобы их дети были активными, но не без меры. Пока американским малышам нанимают учителей по китайскому языку и водят их на развивающие занятия, французские дети исследуют мир самостоятельно.\nЯ не буду первой, если отмечу, что у американцев среднего класса существует проблема в воспитании детей. Эта проблема усердно изучалась и была определена как проблема гиперопеки, оборотная сторона которой — господство детей над родителями. Опекающий стиль американского воспитания не нравится никому и меньше всего — самим родителям.\nКонечно, у французов есть разные виды социальной поддержки, призванные сделать рождение и воспитание детей более привлекательным и менее нервозным процессом. Родители не платят за детские сады, им не нужно волноваться о медицинской страховке или откладывать деньги на колледж. Многие получают ежемесячное детское пособие, которое перечисляется прямо на банковский счет.\nНо социальной поддержкой можно объяснить далеко не все. Я пришла к заключению о том, что у французов совершенно иная концепция воспитания детей. Когда я спросила французских родителей, как они воспитывают таких дисциплинированных детей, им понадобилось немало времени, чтобы понять, что я имею в виду. «Дисциплина», как я вскоре поняла, является узким и непопулярным понятием, связанным с наказанием. Зато «обучение» (не имеющее ничего общего со школой) — это то, чем они занимаются постоянно.\nОдна из целей такого обучения — это формирование у ребенка умения ждать. Благодаря этому умению французские малыши, которым едва исполнилось 2–3 месяца, спят всю ночь. Их родители не хватают ребенка на руки, как только он начинает плакать. Малышу предоставляют возможность научиться засыпать самостоятельно. Благодаря умению ждать французские малыши спокойно едят в ресторане. Они знают, что кусочничать в течение дня не разрешено, и придется дождаться времени приема пищи. (Дети во Франции всегда едят три раза в день и полдничают днем около 4 часов).\nОднажды в субботу я решила навестить Дельфину Порчер, адвоката по трудовому праву, симпатичную женщину тридцати с небольшим лет, которая живет со своей семьей в пригороде Парижа. Когда я приехала, ее муж работал за компьютером в гостиной, а годовалый Обейн спал рядом. Трехлетняя Паулина сидела за кухонным столом и с упоением запихивала тесто в формочки для запекания. Каким-то чудесным образом ей удалось преодолеть соблазн его съесть.\nДельфина сказала, что она никогда специально не учила детей быть терпеливыми, но ежедневные поступки членов ее семьи помогают детям научиться откладывать  удовольствие. Дельфина покупает Паулине сладости (леденцы во Франции часто выставляются в витринах булочных), но Паулине нельзя есть их до полдника, даже если это означает, что ждать нужно несколько часов.\nКогда Паулина попробовала прервать наш разговор, Дельфина сказала: «Подожди две минутки, малышка. Я сейчас разговариваю». Это было сказано одновременно вежливо и твердо. Я была поражена и тем, как нежно Дельфина это сказала, и ее уверенностью в том, что Паулина послушается. Дельфина также учила своих детей смежному навыку — самостоятельной игре. «Самое важное состоит в том, что он учится быть счастливым в собственном обществе», — сказала она о своем сыне Обейне.\nЭто тот навык, который французские матери, в отличие от американских, последовательно развивают в своих детях. Исследование 2004 года, в котором сравнивались взгляды французских и американских матерей, получивших высшее образование, показало следующее: американские мамы отметили, что наличие навыков самостоятельной игры у ребенка имеет не слишком большое значение, француженки ответили, что это очень важно.\nПозднее я написала Уолтеру Мишелю, признанному эксперту в области психологии воспитания.Так получилось, что Мишель, восьмидесятилетний профессор Колумбийского университета, был в Париже в гостях у своей давнишней подруги. Он согласился со мной встретиться.\nПрофессор Мишель стал известен во многом благодаря «зефирному тесту», разработанному им в конце 1960-х годов. Этот тест состоял в следующем: ребенку четырех-пяти лет было предложено остаться в комнате, где на столе лежал зефир. Взрослый, который проводит эксперимент, должен был сказать ребенку, что ему нужно ненадолго выйти из комнаты. При этом если ребенок не съест зефир до возвращения взрослого, он получит в качестве награды еще одну сладость. Если съест — то больше ничего не получит.\nБольшинство детей могли подождать около 30 секунд. Пятнадцать минут ожидания мог выдержать только один ребенок из трех. Секрет успешного ожидания, как установили исследователи, заключался в том, что дети, способные отсрочить удовольствие, умели переключать внимание на что-то другое.\nПродолжая исследования в середине 1980-х, профессор Мишель и его коллеги обнаружили, что дети, которые успешно прошли тест, могли скорее сосредоточиться, были более рассудительны и стрессоустойчивы.\nПомогает ли обучение ребенка ожиданию стать более рассудительным и спокойным? Может ли это частично объяснить тот факт, что американские дети, которые привыкли получать то, чего хотят, так часто «расклеиваются» в стрессовой ситуации?\nПрофессор Мишель никогда не проводил свой «зефирный тест» во Франции. Но как давний поклонник Франции он сказал, что был бесконечно удивлен различиями между французскими и американскими детьми. По его словам, при взгляде на американских детей действительно создается ощущение, что самоконтроль им дается непросто.\nАмериканские родители, безусловно, хотят, чтобы их дети были терпеливыми. Мы учим наших детей делиться, ждать своей очереди, накрывать на стол и играть на фортепиано. Но мы не рассматриваем терпение как навык, который, в отличие от нас, французские родители так старательно прививают своим детям. Мы рассматриваем терпение и умение ждать как свойства натуры. По нашему мнению, родителям или везет, что их ребенок умеет ждать, или нет.\nФранцузским родителям и воспитателям трудно поверить в то, что мы так попустительски относимся к столь важному умению. Когда я упомянула об этой проблеме за обедом в Париже, хозяин вечеринки, француз, рассказал историю о своем пребывании в Южной Калифорнии.\nОн и его жена подружились с американской парой, и они все вместе решили провести выходные в Санта Барбаре. Тогда же произошло знакомство с детьми друг друга (детям было от 7 до 15 лет). Спустя годы, наши друзья все еще помнят, как американские дети прерывали взрослых на полуслове. У американских детей не было четкого времени приема пищи; они просто подходили к холодильнику и брали еду, когда хотели. Французской паре показалось, что дети их американских друзей — настоящие диктаторы.\n«Что нас поразило, так это то, что родители ни разу не сказали “нет”», — отметил муж. «Дети делали все, что им вздумается», — добавила жена.\nЧерез некоторое время я заметила, что большинство описаний американских детей включало фразу «все, что им вздумается». Это говорит о том, что у американских детей нет четких границ, что им все можно, что их родители обладают недостаточным авторитетом. Это полная противоположность французским «рамкам», о которых часто говорят французские родители. «Рамки» означают, что у детей есть жесткие ограничения относительно некоторых вещей, и родители требуют строгого соблюдения правил. Но зато внутри этих «рамок» французские родители предоставляют своим детям достаточного свободы и независимости.\nАвторитет — одна из наиболее значимых составляющих французского воспитания, и, возможно, самая сложная в освоении. Многие французские родители, которых я встречаю, имеют необходимый авторитет без дополнительных усилий, чему я могу только позавидовать. Их дети на самом деле слушаются родителей. Французские дети не носятся постоянно сломя голову, не огрызаются и не вступают с родителями в длительные дискуссии.\nОдним воскресным утром моя соседка Фредерика наблюдала, как я пыталась справиться с моим сыном Лео, которому было тогда 2 года. Лео все делал быстро, и когда я шла с ним в парк, я тоже была в постоянном тонусе. Казалось, что ограждения у детской площадки означали для него лишь приглашение выйти за ее пределы.\nФредерика недавно удочерила прекрасную рыжеволосую девочку из России. На момент нашей прогулки она уже три месяца была матерью. И поскольку она была француженкой, у нее был совсем другой взгляд на то, что ребенку можно и чего нельзя.\nФредерика и я сидели у края песочницы и пытались вести беседу. Лео постоянно открывал ворота песочницы и убегал. Каждый раз я бежала за ним, ругала его и тащила обратно, а он при этом пронзительно кричал. Сначала Фредерика молча за всем наблюдала, а потом, без всякого назидания в голосе, сказала, что если я буду все время бегать за Лео, мы не сможем спокойно поговорить.\n«Действительно, — ответила я. — Но что я могу сделать?» Фредерика сказала, что нужно быть строже с Лео. Мне казалось, что провести день, не бегая за Лео, невозможно. У нее было другое мнение.\nЯ отметила, что ругала Лео последние 20 минут. Фредерика улыбнулась. Она сказала, что мне нужно говорить «нет» строже и верить в это. В следующий раз, когда Лео попытался вырваться за ограждение, я сказала «нет» строже, чем обычно. Он все равно убежал. Я побежала за ним и притащила его обратно. «Видишь? — сказала я. — Это невозможно».\nФредерика снова улыбнулась и посоветовала мне не кричать, а говорить более уверенно. Я боялась, что напугаю ребенка. «Не волнуйся», — сказала Фредерика, убеждая меня попробовать.\nЛео не послушался и в другой раз тоже. Вместе с тем постепенно я почувствовала, что мои «нет» начинают звучать более убедительно. Они не были громче, но произносились увереннее. На четвертый раз, когда я уже была полна решимости, Лео приблизился к ограде, но — о, чудо! — не открыл ворота. Он оглянулся и осторожно посмотрел на меня. Мои глаза расширились, и я попробовала посмотреть с неодобрением.\nПримерно через 10 минут Лео прекратил свои попытки. Он просто играл в песочнице с другими детьми. Вскоре Фредерика и я болтали, вытянув перед собой ноги. Я была поражена тем фактом, что теперь я для Лео авторитет.\n«Вот видишь, — сказала Фредерика без всякого злорадства, — все дело в том, каким тоном ты говоришь». Она указала на то, что моя просьба не травмировала Лео. На долю секунды — и может быть впервые в жизни — он стал похож на французского ребенка.\nПеревод Дарья Шулешова, специально для <a href=\"http://www.kidreader.ru/\">KidReader</a>, источник: <a href=\"http://online.wsj.com/article/SB10001424052970204740904577196931457473816.html?KEYWORDS=%22Bringing+Up+Bebe%22\">The Wall Street Journal</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:5a842fdc83d87895b118c4b7d4ff09b0' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Не затеряется ли литература вообще на фоне уроков русского языка, когда в силу вступят новые стандарты образования для старшей школы и два предмета могут объединить в один курс — \"словесность\"?\n— Это будет зависеть от конкретных программ и учебников, — считает учитель русского языка и литературы 57-й московской школы Сергей Волков. — От тех целей, которые перед предметом будут поставлены. От формы контроля и экзаменов. В сильных школах с адекватной администрацией, думаю, все минусы слияния будут смикшированы. В так называемой массовой школе возьмут \"под козырек\" и будут внедрять то, что скажут, не особо думая о смыслах. Как, собственно, и сейчас.\nНо программ пока нет. И, следовательно, списков литературы под новый стандарт — тоже. И, по словам главы департамента общего образования минобрнауки Елены Низиенко, торопиться с этим не собираются. Сначала нужно разработать концепцию, тщательно ее обсудить.\n— Список нужен не школе, а чиновникам, чтобы они не чувствовали свое отлучение от культуры и думали, что и на этом поприще потрудились. У учителей нет времени, чтобы жить — это главное. А какие книжки с детьми читать, мы и без чиновников знаем, — прокомментировал ситуацию \"РГ\" учитель. — Хорошо, когда на уроках литературы ученики могут говорить и о том, что им не нравится, эту проблему гласно обсуждать. Честность и открытость помогают в разговорах на уроках. И часто бывает так, что после наших бесед нелюбимое становится, скажем аккуратно, менее нелюбимым.\nНо как это сделать? Заставлять детей читать? Писать идеальные учебники? Или, наоборот, не обращать на них внимания? Рецепт Сергея Волкова прост: на уроках надо быть собой и жить. \"Отбивает желание урок, который учитель ведет не для детей, сидящих перед ним, а для \"черного человека\" на задней парте — методиста, контролера. Урок, идущий мимо ребенка, мертвый\", — говорит Волков.\nКак не разучиться читать на уроках литературы? С таким вопросом мы обратились к директору православной гимназии \"Образ\", филологу Татьяне Смирновой. Татьяна Юрьевна вместе с известным литератором Александром Архангельским работает над линейкой новых учебников по литературе для 5–9-х классов.\n— В этом деле первостепенна семья, — уверена Татьяна Смирнова. — Учитель может сделать много. Кто-то возьмет авторитетом, кто-то — талантом. Но если дома дети не видят любви и уважения родителей к книге, в детстве не читали вместе, не учили стихи и сказки Пушкина, то эта задача не из простых.\nУчебник, которые пишут Смирнова и Архангельский, готовится уже под новый стандарт общего образования. Основная идея авторов — \"очень серьезная филология очень простым языком\". Чтобы после такого учебника захотелось читать.\n— Книгу делаем по проблемному принципу. Многие вопросы вынесены в методичку. Ребята будут сами искать ответ, а не получать его в готовом виде, — рассказывает Татьяна Юрьевна.\nКстати, по ее мнению, списки литературы, которыми в изобилии снабжают учителей — вещь все-таки нужная. Но есть много \"но\".\n— Список литературы — это ядро, основа содержания предмета. Остальное учитель сделает сам, — уверена она. — Какие бы мы ни писали ему учебники, главное — произведения, о которых он сможет говорить. Нужен обязательный минимум, чтобы важные книги не потерялись. Другая сторона медали — не переполнить список необязательными произведениями. Например, сейчас в среднем звене требуют изучать одно произведение Эдгара По, без которого вполне можно обойтись. C давних пор в списке для младшей школы \"сидят\" \"Толстый и тонкий\" Чехова. Но это же совсем не по возрасту. \"Собачье сердце\" Булгакова обязательно до 9-го класса изучить, \"Матренин двор\" Солженицына — тоже. Учителей ставят в рамки, и это никуда не годится. Список литературы должен обсуждаться с практикующими учителями, а не \"жить\" по инерции.\nКаким должен быть урок литературы?\nАлександр Архангельский: Отдельно взятый урок может быть и скучноватым. Что делать, есть вещи, которые нужно изучать вопреки всем барьерам, потом это вернется сторицей. Но череда уроков скучной ни в коем случае быть не должна. Все-таки литература предмет особый: и познание, и переживание, и творчество. В идеале нужно ставить на литературу только ярких учителей. Все разговоры о том, что дети не читают, упираются в одно: они не верят в наши призывы. А если верят и чувствуют, ничто не помешает влюбить их в предмет. Литература, всегда оставаясь искусством словесного образа, соприкасается с реальностью: с радостью, страданием, справедливостью, любовью, болью. Обо всем этом с детьми на уроках тоже можно говорить. Главное, относиться к этому всерьез.\nИдея соединить в новом стандарте русский язык и литературу в один курс — правильная?\nАлександр Архангельский: Она — необязательная, но возможная. Но, во-первых, это должно внятно и подробно обсуждаться. И только если педагоги, авторы программ, общество, успокоившись, сойдутся на том, что такой предмет нужен, — двигаться дальше. Во-вторых, нельзя механически впрячь в одну упряжку русский и литературу в старших классах. Если уж двигаться в этом направлении, то разрабатывать целостную, непротиворечивую линию русского и литературы с 1-го по 11-й класс. Когда два предмета сначала существуют вместе (чтение и письмо), потом расходятся, чтобы медленно, класс от класса начать снова сближаться. А в последних классах сойтись в общий предмет. Где ядром все же будет литература, а изучение языка — ее частью.\nКакие авторы могут в будущем исчезнуть из школьной программы и почему?\nАлександр Архангельский: Вопреки массовому мнению, имена и названия произведений, за исключением незыблемого ядра, — дело второе. А первое — это качество, глубина чтения. Добрать имена человек может и потом, а стать большим читателем (или, напротив, потерять интерес к чтению) — только в школе. Что касается ядра, тут все ясно — мы аукаемся именами русских классиков, от Пушкина и Лескова до Есенина и Пастернака. Мы россияне в той мере, в какой Онегин, Безухов и Иван Денисович присутствуют в нас. Мы люди мировой культуры в той мере, в какой нам знакомы Шекспир, Гете и Сервантес. А насчет остального давайте спорить.\nЧто делать, если ребенок не читает?\nАлександр Архангельский: Ни в коем случае не заставлять. В раннем детстве читать вместе, чтобы ребенок через вашу любовь вошел в мир книги. Постоянно читать самим: если ребенок не видит читающего взрослого, с какой стати он сам возьмется за книгу? И в целом, постараться хотя бы не отвратить от книги.\nМария Агранович, источник: <a href=\"http://www.rg.ru\" style=\"font-size: inherit; font-style: inherit; font-variant: inherit; line-height: 1.4em;\">http://www.rg.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:7b923a3b5de8951b4de3a685f449c1e7' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'В 2012 году издательство «ЭНАС-КНИГА» выпустило сразу пять авторских работ Квентина Гребана, а издательство «Поляндрия» — еще три. Все восемь — книжки с картинками, то есть состоят из небольшого количества текста и большого количества «фирменных» гребановских иллюстраций. К историям, которые сочиняет для своих книг художник, в общем-то, применим тот же эпитет, что и для всего творчества Гребана — они милые. Недлинные, легкие, всегда с долей умного, сладкого (как изюминка) юмора. Изящные, хотя и по-детски простые.\nБиографической информации о Квентине Гребане не так уж много, все источники в основном перечисляют одни и те же нейтральные факты: родился в Брюсселе в 1977 году, живет там и сейчас. Проиллюстрировал вот уже более двадцати пяти книг, которые издаются по всему миру (в Германии, Дании, Венгрии, Англии, Канаде, Греции, Корее, США). В 2000 году получил награду имени Антуана де Сент-Экзюпери, присуждаемую франкоязычным детским и юношеским книгам. Также его работы отмечены на Болонской книжной ярмарке 1999 и 2000 годов. Вот, собственно, и все, что известно.\n<a href=\"http://bibliogid.ru/articles/4562\" target=\"_blank\">Читать дальше на сайте БиблиоГид >>></a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:21db2734af429d16af1769a19ff2a800' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Это все ваши дети? — неоднократно спрашивали меня кубинки. — У них такая маленькая разница в возрасте?» За десять лет я родила троих детей. Канадцы часто удивляются, почему она такая большая.\nРазница в возрасте между нашими детьми иной раз говорит о нас больше, чем мы сами подозреваем. Кубинцев, работающих на курортах, где все отдыхающие — иностранцы, строго инструктируют на предмет запретным тем. Жаловаться на жизнь они не могут, а вот рассказывать о детях не возбраняется. В ответ на восклицание «У вас трое?» я спрашиваю: «А у вас?» Чаще всего оказывается, что двое. «Старшему шестнадцать, а младшему шесть», — говорит официантка. «Старшему уже двадцать, он у меня в армии, а маленькому десять», — отвечает повар. «Моей девочке полтора года, — говорит девушка, убирающая посуду за завтраком. — А сыну — двенадцать. С ними сидит моя мама. Мне нужно встать в 4:30 утра, чтобы успеть на работу. Домой возвращаюсь в шесть вечера. Один выходной в неделю. Все на бабушке — и дети, и готовка». «Какие у вас симпатичные дочки! Сколько им?» — спрашивает моя подруга у совсем молодой мамы на пляже. Та стоит с детьми у кромки моря, не решаясь к нам подойти: контакты с курортниками не поощряются. «Дочке — четыре. А старшая — моя сестренка, ей восемь», — отвечает девушка.\nОт каникул к каникулам, от диалога к диалогу, по кусочкам склеивается картинка, которая напоминаетчто-тодо боли знакомое. Чтобы вырастить одного ребенка без подгузников и детского питания, живя тремя поколениями в одной тесной квартирке, необходимо как минимум два комплекта взрослых — родители и бабушка с дедушкой. В следующий раз на этот подвиг родители решатся не сразу. Возможно, этот следующий раз случится уже в новом браке, после того как старый не выдержит испытания унылым бытом, безденежьем, тяжелыми жилищными условиями. Тем не менее второго ребенка многие все же заводят, а вот третий уже большая редкость.\nЧто-топодобное было в нашем детстве. Погодков в моем окружении почти не было. Разница в возрасте с братьями и сестрами у многих моих друзей составляла пять лет, а то и десять. Детей в семье было, как правило, не больше двух. У многих родители были разведены. Взращивание каждого младенца было непростым испытанием. Заранее шились марлевые подгузники, которые впоследствии кипятились в огромных кастрюлях на плите. Через марлевую же тряпочку выжимались овощные и фруктовые соки. Чтобы ребенка не пришлось отдавать в ясли, бабушка выходила на пенсию. Если бабушке было далеко до пенсионного возраста, подключали молодую прабабушку.\nМой старший ребенок родился как раз в тот момент, когда ситуация в Москве начала меняться. Детей стали заводить позже. Молодые родители стремились жить отдельно отбабушек-дедушек. Детский быт существенно упростился. Многие семьи смогли позволить себе няню и детей с маленькой разницей в возрасте.\nВ то же время часть семей продолжала существовать в рамках старой парадигмы: с марлевыми подгузниками и соками, таинственными ритуалами «высаживаний» и кипячений. На прогулке в сквере встречались бабушки, принявшие эстафету у вышедших из декрета мам; мамы, оставшиеся на несколько лет дома; няни, призванные заменить работающих бабушек, а порою и гувернантки, нанятые неработающими состоятельными мамами. Появились погодки и семьи с тремя детьми. Росла популярность ЭКО, в песочницах становилось все больше двойняшек и тройняшек.\nМои младшие дети родились в Торонто, где демографическая модель существенно отличается от московской. Здесь много бездетных пар, но если в семье есть дети, то их обычно больше одного. Семьи среднего класса, как правило, заводят детей с небольшой разницей в возрасте. Это позволяет нанять им общую няню или au pair, сэкономить на детском оборудовании, получить скидку в кружки и лагеря, упростить логистику. Кроме того, на детей многие решаются в том возрасте, когда рожать их приходится подряд, иначе просто не успеешь. В состоятельных семьях такой спешки нет: детей можно заводить раньше и каждым наслаждаться подольше. В иммигрантских семьях ситуация часто иная. Молодая семья приезжает с маленьким ребенком, обустраивается на новом месте, встает на ноги и второго заводит существенно позже. Между старшими и младшими детьми иногда разница в целое поколение.\nПомимо житейских и материальных соображений, разница в возрасте между детьми определяется множеством других параметров. В частности, семейной и национальной традицией. Иногда разница в возрасте воспроизводится из поколения в поколение, бывает, что с точностью до месяца. Наблюдая знакомые семьи из разных стран, невольно подмечаешь типичные комбинации. Во французских семьях, например, нередко можно встретить тройку Боссе-Бетан-Малыш. В русских семьях, решившихся на третьего, часто возникает противоположная ситуация — родители с подросшим первым заводят «оптом» второго и третьего.\n<div class=\"vrez\">Некоторые знакомые пары, рожденные в шестидесятые годы, успели даже «поучаствовать» в двух конкурирующих семейных комбинациях. Старший появился у них в студенческие годы, как это принято было в восьмидесятые и ранние девяностые. Этот старший, типичный ребенок очень молодых родителей, рос среди взрослых разговоров, с малолетства сплавлялся на байдарках и расписывал пулю, рано вступил в самостоятельную жизнь. Второго (или второго с третьим) те же самые родители рожают уже под сорок, а иногда и за сорок, снова становясь молодой семьей, но теперь уже совсем другой. На этот раз они не младенца вписывают во взрослую жизнь, а напротив, свою жизнь строят вокруг младенца: теперь уже не он расписывает с ними пулю, а они с ним — стены пальчиковыми красками. Эти младшие вырастают у тех же родителей в совершенно другой семье.</div>\nРазница в возрасте — своего рода шифр, нагруженный информацией. Она определяется сложной игрой параметров: окружением (все друзья «пошли на второго» и мы пойдем за компанию), предположением, что дети будут близки (заведем погодков, отдадим в один класс), попыткой каждого из детей растить как единственного (вот когда первый пойдет в школу/в университет, тогда и позволим себе второго), допущениями о том, будет или не будет старший ревновать. С друзьями, ради которых второго завели чуть раньше, вскоре не останется точек соприкосновения, погодки окажутся совершенно разными людьми, сиблинги с разницей в десять лет будут близки как погодки, двухлетняя старшая сестра воспримет младшую с радостью, а двенадцатилетняя примется закатывать сцены. Мы имели в виду одно, а вышло совершенно другое. Между вашими детьми — всего пять лет, а между нашими целых пять лет — какая колоссальная разница!\nМария Блинкина-Мельник, источник:<a href=\"http://family.booknik.ru\" style=\"font-size: inherit; font-style: inherit; font-variant: inherit; line-height: 1.4em;\"> http://family.booknik.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:64f85d6ce1c692e3a3f815c85ae1ccf9' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Недавно в московских магазинах появилась в продаже учебная программа, составленная на основе нового образовательного стандарта Российской академией образования. Обнаружилось, что школьники не будут больше изучать Куприна, Лескова, Алексея Толстого, Астафьева и Вампилова — их заменят Улицкая, Пелевин, Аксенов и Домбровский с Маканиным. Специалисты оплакивают классиков, клянут современников и настаивают на непреходящем значении советской литературы. Проводником читателей в запутанный мир ФГОСов двух поколений, кодификаторов, спецификаций и образовательных парадигм выступает МИХАИЛ ПАВЛОВЕЦ, заведующий кафедрой русской и зарубежной литературы и методики Института гуманитарных наук МГПУ, кандидат филологических наук, доцент, автор множества научных и научно-методических публикаций по истории и теории русской литературы и методике ее преподавания, член авторских коллективов шести учебников по литературе для школы и вуза.\n«Отгремев, закончились бои»?..\nНовый Федеральный государственный образовательный стандарт для старшей школы — 10—11 классов (так называемый ФГОС) был принят в июне 2012 года, то есть чуть более полугода назад. Приказ о его утверждении подписывался министром образования Андреем Фурсенко в последний месяц его работы на данном посту и стал своего рода подарком уходящего начальника всего российского образования тому, кто должен был занять его неостывшее кресло. ФГОС для старшей школы — заключительный в серии: до этого в декабре 2010 года был утвержден ФГОС для общей средней школы (5—9 классы), а в октябре 2009 года — для начальной. Подготовка первого из этих документов прошла в атмосфере почти полного безразличия, но публикация уже вызвала волну народного гнева. К счастью, сквозь шум различались и (единичные) голоса конструктивных критиков, которые, в частности, были возмущены неприкрытым продавливанием через стандарт «Основ православной культуры».\nЭтих голосов стало еще больше, когда был опубликован проект Стандарта для основной школы, который унаследовал не одну родовую травму предшественника и подразумевал собою, к тому же, резкое сокращение доступности среднего образования. Возмущение общественности, а еще более — готовность отдельных ее представителей предлагать конкретные меры по улучшению дали определенные позитивные результаты. Они, в свою очередь, воодушевили экспертов на проявление пристального внимания и к заключительной части Образовательного стандарта. Проект в результате дважды отправлялся на доработку. Сменились за это время и основные его разработчики. Одновременно ФГОСы для начальной школы начали внедрять в учебный процесс — и прямо по ходу внедрения править. В нынешнем году подросшие на Стандартах второго поколения учащиеся перейдут в среднюю школу, где их уже готовятся принять учителя-предметники, в спешном порядке, без отрыва от производства, осваивающие новые требования к подготовке школьников, а также написанные в соответствии с этими требованиями программы и учебные планы. Монопольно утвердиться в образовании новые Стандарты должны к 2020 году, когда по ним отучится первое поколение школьников — и можно будет оценить (при помощи пресловутого ЕГЭ), что получилось. Годы эти не обещают быть легкими ни для педагогического сообщества, ни для его подопечных, ни для чиновников от образования.\nВ ситуации, когда большинство педагогов деморализовано почти тридцатью годами непрерывных реформ образования, внутри сообщества, тем не менее, постепенно начинают выкристаллизовываться отдельные группы специалистов, сумевших избавиться от распространенного прежде представления, будто руководящие и регламентирующие документы пишутся для их непосредственного начальства — а оно уж при необходимости выберет, что принять к исполнению.\nДалеко не все эти группы настроены на взаимодействие с чиновниками, еще меньше среди них тех, кто в состоянии усмотреть взаимосвязь между происходящими в стране и мире процессами с одной стороны — и образованием, вынужденным на эти процессы реагировать, с другой. Приходится на ходу перестраиваться и чиновникам, не слишком готовым к взаимодействию с формирующимися (не в последнюю очередь «благодаря» их усилиям) гражданскими структурами.\nСтандарт принят государством — но не обществом. Процесс общественного принятия обещает быть драматичным и долгим.\nКраткая история русской литературы\nЛитература стала одной из самых горячих тем в борьбе вокруг Стандартов. Точнее — не литература, а учебный предмет под этим названием. Все последние годы у заинтересованной части общества зрели небезосновательные опасения на тот счет, что литература постепенно потеряет позицию одного из ведущих учебных предметов, превратившись вместо этого в маргинальную дисциплину вроде «рисования» или «музыки».\nВ позднесоветское время литература рассматривалась как мощное средство идеологической индоктринации подрастающего поколения. Вся ее история была «выпрямлена» в соответствии с ленинской концепцией трех этапов освободительной борьбы («Декабристы разбудили Герцена…»). К изучению предлагались только проверенные произведения, предварительно препарированные советскими литературоведами и методистами, которые, в частности, превратили Пушкина — в декабриста, а поэму Блока «Двенадцать» — в гимн Октябрьской революции. В конце восьмидесятых — начале девяностых воспитательная ценность дисциплины все еще не подвергалась сомнению, только теперь приписывалась, помимо прочего, еще и произведениям «возвращенной литературы» — то есть запрещенной к публикации (или не запрещенной, а просто замалчивавшейся) в советское время.\nПоявившаяся на свет в 1991 году «Программа по литературе. 5—11 классы», подготовленная авторским коллективом — впервые с советских времен не анонимным! — под редакцией Т.Ф. Курдюмовой, была по-настоящему прорывной для своего времени, хотя и немало унаследовала от советской традиции. В частности, перешла в нее установка на поиск и актуализацию в литературных произведениях патриотической тематики. Так, тема Родины (с заглавной буквы!) особо выделяется в творчестве И. Бунина («Поэтизация исторического прошлого Родины»), А. Блока («Глубокое, проникновенное чувство Родины»), С. Есенина («Глубокое чувство родной природы и Родины»), А. Ахматовой («Тема Родины и гражданского мужества»), А. Твардовского («Прошлое, настоящее и будущее Родины в творчестве Твардовского»), etc.\nВообще при том, что программа была в значительной степени очищена от советской идеологической риторики, в ней прослеживается четкая тенденция к утилитарному пониманию литературы как «школы жизни» и арсенала «вечных ценностей». Цель литературного образования, сформулированная в объяснительной записке к программе, — это «становление духовного мира человека, создание условий для формирования внутренней потребности личности в непрерывном совершенствовании, в реализации своих творческих возможностей». Поэтому, к примеру, во вводном курсе предлагалось обсудить «роль литературного образования в формировании системы этических, эстетических и нравственных ценностей современного человека», а раздел «Литература на современном этапе» рекомендовал «общий обзор произведений, опубликованных в последние годы и месяцы в журналах и отдельными книгами, с особым вниманием к темам патриотизма, дружбы народов, добра, милосердия, укрепления семьи, бережного отношения к земле и ее дарам, к талантливым и трудолюбивым людям, обустраивающим родную землю».\nСразу же встал вопрос: насколько учитель свободен в отборе произведений для изучения? Вопрос был не праздный, литературу тогда сдавали (иногда устно, но гораздо чаще — письменно, в форме сочинения) при поступлении на многие факультеты, причем не всегда гуманитарные, — например, в Таможенную академию или в медицинские вузы. Авторы тем для экзаменационных заданий должны были представлять, со знанием каких конкретно произведений к ним придут абитуриенты. Компромиссным решением проблемы стал рожденный в недрах Министерства общего и профессионального образования РФ «Обязательный минимум содержания основного общего образования по литературе», утвержденный соответствующим письмом министерства от 18 июля 1997 года. Этот документ резко сократил перечень имен и названий, не просто рекомендованных, но обязательных для изучения в выпускном классе средней школы.\nИменно этот принцип — определение минимального круга обязательных для прочтения произведений — лег в основу и и первых ФГОСов по литературе 2004 года. Впоследствии список был несколько уточнен и расширен, в окончательном виде продолжает действовать до сих пор — и, по-видимому, будет сохранять свою значимость до самого конца второго десятилетия XXI века — пока те, кто последним стал учиться по новым стандартам, не поступят в 11 класс.\nВторое пришествие Стандарта, или Нищета сочинений\nВ основу же ФГОСов второго поколения положен совершенно другой принцип: стандарты теперь определяют не объем и содержание знаний, получаемых учащимся (в частности, знание определенных произведений русской и мировой литературы), а образ самого учащегося, прежде всего его компетенции. То есть способности применять на практике полученные в процессе обучения знания, умения и навыки.\nНа самом деле мы говорим о революционной смене образовательных моделей: традиционная, унаследованная советским и постсоветским образованием от дореволюционных времен, предполагала, что учащийся получает набор знаний и умений, круг которых сложился исторически. То, что понадобится ему в дальнейшей жизни (например, в профессиональной деятельности), он во многом должен будет усвоить впоследствии сам. Главное же — «дать базу» и «заложить основы». При таком подходе преобладали предметы, смысла и прагматики которых школьник или студент вполне мог не понимать: достаточно вспомнить древние языки в дореволюционной школе или идеологические дисциплины, вроде «Научного коммунизма», в советских вузах. Информацию следовало зубрить, что (по идее) должно было тренировать память. А воспроизведение ее наизусть (опять же по идее) — вырабатывать навыки устной и письменной речи.\nПрименительно к литературе от учащегося обычно требовалось прочитать довольно большой объем литературных и литературно-критических произведений, запомнить их идеологически выверенные интерпретации, а затем продемонстрировать способность воспроизвести эти интерпретации в сочинении. Неудивительно, что эта форма аттестационного экзамена первой затрещала под натиском новых времен: расплодившиеся издания вроде «100 золотых сочинений» вскоре перекочевали в интернет, и письменный экзамен превратился в проверку навыка пользования современными гаджетами.\nЛюбой, кто работал на выпускных школьных или вступительных вузовских экзаменах, может написать книгу о способах создания сочинений заранее оговоренного качества. Характерный пример: на гуманитарном факультете одного из флагманов отечественного образования ректор ввел в процесс «лототрон» — собственноручно крутил ручку барабана и извлекал на свет конверт с темами сочинений. Представители приемной комиссии торжественно вскрывали конверт перед учащимися и чрезвычайно тщательно следили за тем, чтобы никто не списывал. Затем собранные работы запирали в специальный сейф. Ближе к полуночи к факультету вновь съезжались абитуриенты (но, конечно, не все — избранные) с тем, чтобы под диктовку своих вузовских репетиторов переписать работы, которыми затем подменялись те, что были написаны днем. Всю ночь в корпусах горел свет. На следующий день предметная комиссия со всей строгостью и объективностью проверяла извлеченные из сейфа сочинения. Более простодушные вузы прибегали к менее изощренным практикам вроде выбора из нескольких конвертов, содержимое которых в действительности было идентичным. Темы нужным людям сообщались, разумеется, заблаговременно.\nОтмена сочинений в качестве вступительных испытаний и замена их ЕГЭ вызвала шквал гневных выступлений и среди родителей, и в педагогическом сообществе. Большинство гневавшихся трудно заподозрить в корысти: сама эволюция ЕГЭ по литературе шла к увеличению в нем доли письменных ответов на вопросы в виде мини-сочинений. Это говорило о том, что недостаточность (а то и ущербность) стандартной системы тестов для проверки успешности изучения литературы была признана даже ее адептами. К тому же введение ЕГЭ привело к повсеместному распространению практики «натаскивания» на него учащихся их учителями. Просто потому, что оценка работы последних прямо была увязана с успешностью прохождения ЕГЭ их подопечными. А в основе «натаскивания» лежит все та же, проклятая еще выпускниками бурс и церковно-приходских школ, зубрежка, про которую сегодня уже окончательно ясно, что ее роль сыграна, все, конец. Современные средства хранения, поиска и доставки информации требуют совершенно другого набора компетенций.\nПрежнего больше не будет\nГлавным документом в школьном литературном образовании все последние годы являлся (и еще некоторое время будет являться) не Стандарт и не Программа, а небольшой текст с длинным названием «Кодификатор элементов содержания и требований к уровню подготовки выпускников общеобразовательных учреждений для единого государственного экзамена 20… года по литературе». Документ этот регламентирует те произведения, знание которых проверяется ЕГЭ. Именно на него учителя ориентируются при составлении учебных планов. При этом, поскольку экзамен по литературе перестал быть обязательным, а число выбирающих его для сдачи ЕГЭ стремительно уменьшается (в 2012 году на всю Москву таковых оказалось 4787 человек — на 150 меньше, чем в 2011-м), учителя-словесники не стремятся расширять круг изучаемых выпускниками произведений. Высвобождающееся время лучше посвятить повтору пройденного в предыдущих классах (литература XVIII—XIX вв.), а то и пресловутому «натаскиванию» на ЕГЭ — но по русскому языку, потому что этот-то экзамен для всех категорий выпускников обязателен. Замечательный учитель Ольга Шавард однажды искренне призналась в приватной беседе: «Я радуюсь, если мои ребята не выбирают ЕГЭ по литературе. Потому что в таком случае я могу с ними заниматься изучением тех произведений, которые считаю необходимыми».\n<div class=\"document-quote\">\nЗа последние три года в демоверсиях ЕГЭ по литературе самое «свежее» из предложенных к анализу произведений — рассказ М. Шолохова «Судьба человека» (1956).\n</div>\nНовый ФГОС в этом смысле закрепляет сложившуюся практику. Потому что вместо двух отдельных предметов — «Русского языка» и «Литературы» — вводит единый предмет «Русский язык и литература». Поскольку ЕГЭ по русскому языку является обязательным (а по литературе — нет, вымирающее животное), то учителя-прагматики в своей работе, безусловно, сделают ставку на русский. А прагматики-учащиеся и ответственные родители эту ставку, безусловно, поддержат.\nЕсли словесники все же станут уделять внимание литературе, то основной акцент ими будет делаться на русской классике — и вот почему: документ под названием «Спецификация контрольных измерительных материалов единого государственного экзамена 20… года по литературе» разъясняет, что примерная доля заданий ЕГЭ, связанных с произведениями второй половины ХХ века, может составлять от 0% до 15% от общего числа заданий. Надо ли говорить, что на практике этот параметр стремится скорее к нижнему, нежели к верхнему пределу? По крайней мере, за последние три года в демоверчиях ЕГЭ по литературе, размещенных на сайте Федерального института педагогических измерений (ФИПИ), самое «свежее» из предложенных к анализу произведений — рассказ М. Шолохова «Судьба человека» (1956).\nПребудут ли «Кодификатор…» со «Спецификацией…» до окончательного торжества Стандартов второго поколения, сказать трудно. Скорее да — если не отменят ЕГЭ — хотя какие-то изменения в них неизбежны. А пока разработчики новых ФГОСов пошли по тому же пути, что и их коллеги 20 лет назад, а именно — предложили примерную программу по литературе для 5—9 классов. Даже издана она тем же издательством — а именно «Просвещением», чей генеральный директор Александр Кондаков по совпадению является одним из руководителей группы по разработке новых Стандартов. На нее должны ориентироваться составители учебных курсов, а также авторы новых учебников и пособий. Пример подают авторы все того же «Просвещения», получившие возможность писать учебные материалы одновременно с созданием примерной программы, а не после ее появления, как их конкуренты, — а все потому, что руководит «Просвещением» деловой, рачительный человек.\nВпрочем, и примерная программа для 10—11 классов уже появилась — и не в «Просвещении» (ФГОСы для старшей школы завершала уже другая команда — из Российской академии образования). Работа специалистов РАО тут же вызвала, однако, ряд нареканий, прежде всего связанных с исчезновением из нее многих имен в диапазоне от Николая Лескова до Николая Рубцова — но и с появлением имен новых, среди которых значится, в частности, enfant terrible русской прозы Виктор Пелевин. Все это, впрочем, проблемы невеликие и трудности преодолимые.\nПроблема же настоящая заключается в том, что произведения «русской классики» все дальше относит от нас течением времени. В прошедшем году мы отметили 200-летие Гончарова и 175-летие со дня смерти Пушкина, творчество которых целиком принадлежит даже не прошлому — позапрошлому веку (хотя и вечности тоже принадлежит, конечно). Честные учителя-практики признают, что им все труднее помогать ученикам осваивать реалии и сам язык давно прошедшей эпохи. Тем более — объяснять актуальность ценностей и социальных моделей, которые в этих текстах транслируются, — хотя бы просто в силу их архаичности. Девочки 15—16 лет горячо переживают за Наташу Ростову, вздумавшую бежать с красавчиком Анатолем из дома. Они же проклинают болтливость Сони и няни купно с привычкой Пьера Безухова лезть не в свое дело — с чего эти люди мешают реализации таких романтических планов? Те же девочки никогда не примут толстовский идеал семьи, не смирятся с подурневшей и опустившейся Наташей, отдающей всю себя детям и мужу — пусть даже последним она и научилась эффективно манипулировать.\nПричины очевидны. Они кроются не только во временной и культурной дистанции между «классикой» и ее нынешним читателем, но и в возрастных особенностях восприятия школьников. Да, все можно растолковать и объяснить. Можно сопоставить современный идеал семьи с тем, что обнаруживается в «Евгении Онегине» или «Войне и мире». Да вот только времени и сил у сегодняшнего учителя на это уйдет куда больше, чем у тех, кто работал со школьниками еще 20—30 лет назад. Теоретически можно не останавливаться ни перед какими издержками, бесконечно увеличивая часы на литературу, о чем недавно просила президента вдова А.И. Солженицына, — но, кажется, это путь в никуда.\nК тому же помимо «классики XIX века» есть и «классика ХХ» в диапазоне от Бунина до все того же Солженицына. А еще есть произведения современной литературы, с которыми детям тоже не мешало бы ознакомиться. А еще литература по выбираемой ими специальности или просто интересам. Учиться на филологов в России идут пока не все, а значит, многим приходится читать в приличных объемах литературу по истории, политологии, биологии или физике — причем бывает, что и на иностранных языках. С каждым десятилетием объем этого чтения увеличивается в геометрической прогрессии, времени на него в рамках школьного курса категорически недостает — а значит, и сам курс со временем придется переименовать в «Древнюю литературу.\nЕсть и еще одна системная проблема, подробно разобрать которую в этой статье уже никак не получится, но нужно хотя бы обозначить: противопоставление «классики» и «современности» формирует у школьников убеждение, что все «подлинное» создавалось в далеком прошлом, что вся история отечественной культуры есть история ее постепенной деградации: был Пушкин, стал Пелевин.\nЭффективный объем чашечки цветка\nКак мы уже говорили выше, реформа всего современного образования держится на переходе от парадигмы знаний к парадигме компетентностей. Проще говоря, нынешнее образование пытается не втиснуть в голову учащегося максимально возможное количество знаний, а сформировать мотивацию к их получению плюс умение эти знания самостоятельно добывать и использовать на практике. Применительно к нашему случаю это означает, что не нужно заставлять учащихся прочесть максимально возможное количество великих книг. Хотя бы вот почему: так мы не получим и самых призрачных гарантий, что по окончании школы они хоть раз в жизни возьмут в руки книгу по собственной воле.\nА нужно вместо этого сформировать у детей базовую потребность в чтении и как-то сориентировать в безбрежном мире литературы.\nДля этого нужно прекратить гнаться за количеством и больше думать о качестве чтения. И да, для начала придется сократить число книг, обязательных для изучения в школе. Здесь предсказуемо обнаруживается рубеж, на котором готовы стоять до конца, а если надо будет — и лечь костьми сторонники прежней модели литературного образования. Потому что каждое произведение русской классики для них — родное дитя. И пожертвовать им, даже ради других детей, никак невозможно.\nОднако сделать это, видимо, все же придется. Учителя и методисты — из тех, кто готов смотреть правде в глаза, — уже начинают это признавать, пусть и медленно. В профессиональной среде зазвучали мнения о возможности изучать некоторые произведения в извлечениях (особенно масштабные, вроде «Войны и мира» или «Тихого Дона»), делая при этом основной акцент не на исторически обусловленных смыслах, адресованных современникам, а на актуализации классических текстов для подрастающего поколения (что позволит осознать и их «вневременность»). Кроме того, можно предположить, что наделавшее в прошлом году столько шуму президентское предложение насчет 100 обязательных к прочтению книг — не что иное, как попытка компенсировать выпадение весомой их части из программ по литературе — хотя бы просто напомнив о существовании этих произведений учителям и школьникам.\nНапоследок попробуем заглянуть в будущее.\nВидимо, появление интегрированного предмета «Русский язык и литература» приведет к интеграции и ЕГЭ по этим предметам — так что от учащихся будут требовать (как уже сейчас требует третья часть ЕГЭ по русскому языку) аргументации выводов собственного эссе примерами из тех произведений, которые школьники посчитают уместным использовать.\nНа уроках литературы учитель будет интересоваться мнением детей о прочитанном, а не их способностью пересказывать услышанное из его уст. И не будет запрещать высказываться о книге негативно — даже если она входит в «золотой фонд русской классики». А будет он учить, как аргументировать любое мнение, в том числе самое отрицательное, — и не потерпит только лицемерия.\nПри этом ни «Евгений Онегин», ни «Один день Ивана Денисовича» никуда из школьных программ не денутся. И культурное наследие России, конечно, хотя бы объемом существенно превосходит наследие маленькой Дании — но когда-нибудь и мы договоримся о национальном культурном каноне, как это сделали датчане. А те книги, о которых не удастся поговорить на уроках, — они непременно останутся в поле зрения большинства выпускников. Многие непременно еще откроют их для себя — может, сразу, а может, и через много лет. Но откроют — потому что школа научится вырабатывать в людях естественную потребность читать и понимание того, зачем это нужно.\n<div class=\"document-category\"> Источник:<a href=\"http://www.colta.ru\"> http://www.colta.ru</a></div>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:e2f95db87b01d3e6e9c53b2de18bb862' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = ' Очень долгое время у меня в голове ничего не складывалось: как так получается, что с детской литературой у нас все хорошо (серьезно, это уже аксиома), но что такое детская литература — никто не знает? Почему интерес к детлиту растет, а отечественных авторов не сказать, чтобы становилось больше? Наконец, почему же детскую литературу при всей ее невероятной популярности изучают в двух с половиной вузах на всю страну? И вот не так давно до меня наконец дошло, в чем дело. Просто все хорошее, что происходит вокруг детей и текстов для них, к детской литературе имеет весьма условное отношение. Потому что все хорошо у нас с рынком детской книги (впрочем, тоже с поправками). А вот с детской литературой у нас даже не плохо.\nПо правде сказать, ее у нас просто нет.\nПотому что литература вообще и детская литература в частности — это не тексты и не авторы. Для читателя литература существует тогда, когда она воспринимается как единый образ: мы представляем себе современную английскую литературу, состоящую из Стоппарда, Фрая и Энн Файн, представляем себе Германию — страну Крюса, Функе и Гюнтера Грасса, мы можем обрисовать для себя Швецию, Австралию, арабский мир. Но не современную детскую литературу России. Происходит это не потому, что у нас нет сильных авторов, способных стать новым лицом отечественного детлита вместо набившего оскомину Михалкова (есть ведь Сабитова, номинированная на Премию Астрид Линдгрен, есть хоть и не совсем отечественный, но все же Спирин), — а потому, что за талантливыми одинокими авторами (с иллюстраторами та же история) никого нет: нет авторов второго и третьего ряда, нет подающего надежды молодого поколения, нет враждующих между собой страт, нет маргинальных объединений, шокирующих своим подходом и тех и этих. Иными словами, у нас нет детской литературы как института, упорядочивающего отдельные тексты, явления и процессы с тем, чтобы из них возник сколько-нибудь цельный образ. Иные лоскутки прекрасны, но красивое одеяльце из них пошить некому.\nВообще считается, что такое положение дел — хорошая новость, что за осознанием его приходит желание (и энергия) все изменить, что полная пустота и стагнация подстегивает молодое поколение переделать все под себя и сотворить-таки дивный новый мир. Однако реальная трагедия ситуации, сложившейся в нашей детской литературе, заключается в том, что все, кому детлит дорог и интересен, всё уже осознали, приняли меры и активно работают — но, к сожалению, не над тем.\nВ первую очередь хорошо бы разобраться, из кого, собственно, детлит состоит, на кого мы можем рассчитывать. Понятно, что самой активной частью детской литературы как институции является издатель. Тем, что новые детские книги вообще оказываются на слуху, мы обязаны именно порядочным издателям, вроде «Розового жирафа» или «КомпасГида». Однако для всякого издателя всякая книга — это в первую очередь бизнес, а следовательно — интересы потребителя, широкого читателя, состоящего из менеджеров, физиков, актеров и безработных мам, для любого издателя, даже самого распрекрасного, важнее, чем интересы литературоведов. Я пишу об этом подробно, так как очевидное, казалось бы, соображение на тот счет, что издатель не имеет особого отношения к литературе, вызывает у критиков недоумение и даже обиды. Из недавних примеров: конкурс Издательского дома Мещерякова на иллюстрации к «Колобку». ИДМ устроил народное голосование, лидерами которого стали работы Александры Михасик и Насти Кьюсак, работы откровенно слабые и вторичные, однако отвечающие массовому запросу: чтобы было красивенько и деткам понятно. Казалось бы, народное голосование — не то место, куда стоит соваться порядочному критику или любому другому профессионалу. Более того: участие в народном голосовании априори уничтожает любой профессионализм, уравнивая дипломированного искусствоведа с теми, кто полагает вершиной книжной иллюстрации котиков в корзинке. Однако критиков, писателей и иллюстраторов это отчего-то не волнует. А вот результаты — да, результаты их расстраивают, демонстрируя, как им представляется, дурной вкус массового читателя. Между тем обращение ИДМ к процедуре, так сказать, плебисцита совершенно не случайно и обусловлено как раз тем, что издатель с массовым читателем находятся по одну сторону баррикад. А критик, писатель и иллюстратор — по другую.\nРазумеется, существуют издательства вроде «Московских учебников», которые могут себе позволить переиздавать «Гулливера» с иллюстрациями Калиновского. Есть «Самокат», которому плевать на красивенькое, он любит примитив и любим вообще не за картинки — однако, как правило, издатель не склонен считаться с мнением профессионального сообщества. Не в последнюю очередь это происходит потому, что сообщество это — как, впрочем, и большинство профессиональных сообществ России — неорганизованно, не институционализировано и вообще — не. Достаточно сказать, что после закрытия \"Заветной мечты\" (как вообще могло получиться, что за три года для премии не нашлось финансирования?) единственным заметным игроком на премиальном поле оказался Всероссийский конкурс на лучшее произведение для детей и юношества \"Книгуру\" — во-первых, учрежденный государством, во-вторых, сосредоточенный на литературе для подростков, а в-третьих, определяющий лауреата — правильно, по результатам читательского голосования в интернете. Итоги «Заветной мечты», впрочем, тоже подводились детским жюри. Профессиональной же премии за детскую литературу у нас нет — и никогда не было.\nНо если издатели не склонны считаться с экспертным сообществом, то с кем или чем они сообразуются? Очень просто: с рекомендательными порталами вроде \"Библиогида\", \"Папмамбука\" или Flymama. Рекомендательными они являются в прямом смысле, здесь заинтересованному родителю советуют ту или иную книгу, как если бы тот пришел в магазин или библиотеку. Сама по себе такая практика ничем не хороша и не плоха, но она не имеет отношения к критике, т.е. к анализу происходящего в детской литературе. Таким образом, рассматривать публикации на перечисленных сайтах как часть собственно литературного процесса не приходится — за единственным исключением. Исключением этим является сайт \"Картинки и разговоры\", контентное наполнение которого, увы, весьма скудно: список мировых детских писателей состоит, к примеру, всего лишь из 63 персоналий.\nНаконец, бывают еще и периодические издания: бумажные и электронные, разной степени адекватности, в идеале призванные обеспечивать полноценное профессиональное общение. На деле практически все они занимают две из огромного множества возможных ниш. Первая — родительские журналы, в которых краткие книжные обзоры размещаются между обстоятельными статьями о подгузниках и не менее обстоятельными — о физическом развитии ребенка (важность и подгузников, и физического развития никакому сомнению, разумеется, не подлежит, речь не об этом). Вторая — это ниша собственно детских журналов, тщетно пытающихся дорасти до былых «Веселых картинок», «Мурзилки» и «Трамвая».\nВсе колоссальные усилия издателей, редакторов, библиотекарей и инициативных родителей, направленные на оживление литературы и литературного процесса, по эффективности оказываются примерно равны гальванизации скончавшейся третьего дня лягушки. А иначе и быть не может. Литература как институт в очень значительной степени состоит из тех, кто занят исследованием и анализом текстов, их встраиванием в существующий контекст или порождением контекстов новых. А это работа культурологов, филологов, литературных критиков, может быть, даже педагогов (самоустранившихся, к слову сказать, из литературного процесса так давно, что о них уже никто и не вспоминает) — но никак не библиотекарей, не издателей и тем более не родителей. И тут мы подходим к моменту, когда нам придется наконец признать, что все это время при нашем разговоре присутствует довольно большой, пусть и молчаливый, слон — не замечать его более невозможно.\nДело в том, что этих самых культурологов, филологов и исследователей, которые бы могли встроить в контекст новый проблемный роман для подростков или написать стиховедческое исследование о Гиваргизове, у нас нет — и взяться им просто неоткуда. То есть они, конечно, есть, отдельные люди, они всегда есть. Но в институциональном смысле их не существует. Единственная в стране (!) кафедра детской литературы функционирует в Санкт-Петербургском государственном университете культуры и искусства. Да и та с 2011 года не является самостоятельной, а входит в состав кафедры литературы и детского чтения. И это — лучшее, что у нас есть, единственное на всю Россию место, где детскую литературу преподают литературоведы, а не школьные педагоги и библиотекари. Детскую литературу никто не изучает, она просто не является частью Академии. Дома детской книги закрыты, научных журналов нет. Вместо собственных «НЛО», «Знамени», «Нового мира» (не говоря о каком-нибудь аналоге «Журнального зала») у детской литературы есть один \"Переплет\" и один \"ХиП\". Первый всем хорош, но выходит дважды в год. Второй — регулярнее, но ценность его состоит скорее в архивировании интервью и воспоминаний, а не в организации дискуссий.\nНо профессиональные издания и профильные кафедры — долгое дело. Нет ли в нашей детской литературе каких-нибудь пусть более короткоживущих, но менее ресурсоемких форм жизни? Нет. Ни фестивалей, ни регулярных литературных вечеров (или круглых столов), ни биеннале, ни триеннале — ничего, пустота. Есть два постоянно действующих профильных семинара — Ольги Мяэотс и Екатерины Асоновой. Прекрасно, что они есть, — но вообще-то их в одной Москве должно быть полтора десятка, обо всей остальной огромной стране не говоря. О премиях уже упоминалось выше: доверить определение лучших книг для детей детям же — это ужасно мило и именно здесь, в отличие от «взрослой» литературы, имеет некоторый смысл, но премию профессиональную такая институция заменить не может.\nКонечно, когда речь идет об области академического знания, тем более — знания, находящегося на грани вымирания, объяснить широкому читателю или, прости господи, правительственным чиновникам, зачем это знание вообще нужно и почему без него не прожить, — трудно. Но вот именно в смысле детской литературы — проще, чем принято думать.\nЛюбому читателю — а особенно маленькому — очень нужно, чтобы литература сообразовывалась с его, читателя, жизненным опытом, структурировала его. Картина повседневности, создаваемая детской литературой, должна дать ребенку возможность найти в ней место для себя, своих родителей и друзей. Переводные тексты, при всех своих многочисленных и совершенно реальных достоинствах, написаны о другом мире, о других детях и о других взрослых. И дело не в том, что Россия так уж отличается от Швеции (хотя да, отличается), а в том, что вообще все страны разные и опыт проживания повседневности в каждой из них — другой. В России детская литература с этой своей задачей не справляется. И не будет справляться, пока не осознает, что просто хороших текстов и просто хороших авторов для этого, мягко говоря, недостаточно.\nМария Скаф, источник:<a href=\"http://www.colta.ru\" style=\"font-size: inherit; font-style: inherit; font-variant: inherit; line-height: 1.4em;\"> http://www.colta.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:d769f2d2014f1b634037e63033965dbc' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Прорицание и вершение литературных судеб испокон веков казалось у нас более почетным и притягательным занятием, нежели скромная описательная наука, а потому, заводя разговор о тенденциях в искусстве, критики в массе своей тут же берутся рассуждать о пользе, значении и перспективах исследуемого объекта прежде (а как правило, и вместо) того, чтобы составить о нем представление в целом. Убедиться в этом можно на примере повального увлечения критиков идеей “овзросления” детской литературы, которое, в зависимости от нужд исследователя, выражается то в новом спектре тем (от изнасилования до ксенофобии), то в увлечении иллюстраторов мрачными цветовыми сочетаниями и нарочитой “некрасивостью”, а то и просто в попытке заговорить с ребенком о Боге и смысле жизни. Понятно, что в таком ключе относиться к означенной тенденции хоть сколько-нибудь серьезно нельзя. Тем не менее возможность неких реально происходящих изменений никто не отрицает, и действительная задача критика сейчас — уяснить природу этих перемен, не надеясь, что она окажется проста и однородна.\nВ первую очередь важно понимать, что детской литературы в России вообще-то нет (с этого, конечно, стоило начать, но и сейчас не слишком поздно объявить). Ее нет ни как свода текстов, входящих в круг детского чтения, и ни как плеяды авторов, представляющих национальную литературу миру (хотя и это, кстати, тоже под вопросом), и уж точно ни как ниши на книжном рынке. Ее нет как института, включающего в себя писательский, читательский и профессиональный исследовательский цеха, находящиеся в постоянном, желательно — плодотворном, взаимодействии. Института же нет потому, что, в свою очередь, отсутствуют его составляющие (точнее, раньше были, а теперь — кончились): нет сообщества детских писателей (особенно, например, в сравнении с сообществом современных поэтов), нет академической среды (одна кафедра детской литературы на две столицы, да и та — с библиотечным, а не с филологическим уклоном), не все гладко и с читателем, поскольку ни издатели, ни родители, ни писатели в массе своей до сих пор никак не разберутся, как же им взаимодействовать. Впрочем, проблемы писателей и читателей в данном случае должны волновать нас гораздо меньше, чем фактически полное исчезновение науки, детскую литературу изучающей. Ведь в результате никто не может внятно сформулировать: чем графический роман отличается от комикса, где начинается классицизм в детской литературе и почему антинаучно делить книги по возрастам (и уж тем более — по гендеру), особенно если можно делить их по стилям и жанрам. Понятно, что говорить о тенденциях в искусстве, в то время как не придуман и не разработан еще язык его описания, — занятие довольно странное. Однако только о тенденциях и говорят, с позиций, надо заметить, иногда диаметрально противоположных.\nАпологеты новой детской книги заявляют, что трансформировался сам способ ведения диалога с ребенком.\n<blockquote>“Современные книги в равной степени адресованы детям и взрослым, — пишет, например, семейный педагог, методист отдела профилактики и преодоления семейного неблагополучия и социального сиротства МГПИ, преподаватель детской литературы Екатерина Асонова. — Они нацелены не столько на поддержку процесса освоения детьми мира взрослых, сколько на создание условий для взаимного узнавания. <...> Привычная двойная адресация произведения, когда заложенные в нем “взрослые” смыслы вряд ли могли быть считаны ребенком (достаточно вспомнить сказочные поэмы Чуковского, повести Гайдара или сказки Андерсена), сегодня серьезно трансформировалась. Авторы — и писатель, и иллюстратор — предлагают своим читателям общее переживание, наблюдение, — а значит, и общий язык для их обсуждения” (OpenSpace.ru). \n</blockquote>\nК тому же Асонова замечает, что детские книги прошлых лет, также частично представлявшие “проблемную” литературу, имели гораздо больший упор на дидактику, нежели на попытки найти точки соприкосновения с мировоззрением ребенка. В качестве примера авторов новой детской книги Асонова называет Шона Тана, Вольфа Эрльбруха, Ульфа Страка, Дину Сабитову, Артура Гиваргизова и многих других.\nТеория Асоновой вызывает противоречивые чувства. С одной стороны, действительно, дидактическая функция детской литературы перестает иметь такое значение, как в советские годы. Можно смело сказать, что уход от дидактики вполне осознан современными авторами, как зарубежными, так и отечественными. Упомянутая Дина Сабитова, например, считает, что \n<blockquote>\"основная функция книги — получение удовольствия. И для писателя, и для читателя. Читать именно эту книгу должно хотеться; рассудочно, для пользы дела мы читаем только учебники. Точно так же и со стороны писателя: ему должно просто нравиться, доставлять удовольствие то, что он пишет. Книги, которые пишутся с расчетом кого-то там воспитать, как правило, получаются очень скучными” (OpenSpace.ru). \n</blockquote>\nОднако есть в размышлениях Асоновой несколько весьма спорных моментов. Кажутся абсолютно несправедливыми нападки на книги прошлых лет и утверждение, что трансформировалась классическая двойная адресация (к сожалению, Асонова не сообщает ничего конкретного о природе этих изменений, но, по-видимому, имеется в виду, что отныне взрослые смыслы в книгах могут быть считаны и детьми). Такое предположение заставляет нас думать, что и в романах Сабитовой, и в стихах Гиваргизова, и в книжках-картинках (или все же графических романах? или все же комиксах?) Тана среднестатистическому ребенку будет все понятно, а то, что ему не понятно, родители смогут объяснить (благо авторы выработали новый, универсальный язык). Однако на деле эти книги, безусловно замечательные, адаптированы под детское сознание не больше, чем сказки Андерсена, поэмы Чуковского и повести Гайдара. Предполагать, что в “Ничьей вещи” Шона Тана отсутствует двойная адресация — значит умалять достоинства автора, создавшего глубокую и сложную повесть о трагедии взросления, ведущую диалог и с рассказами Уэллса, и с романом Мелвилла, и с эпопеями Мильтона (это помимо очевидных параллелей с Джеймсом Барри). Более того, совершенно бессмысленно подозревать того же Шона Тана в попытке создать некий универсальный язык, учитывая, что сам он никогда особой разницы между взрослой и детской литературой не видел:\n<blockquote>“Мне очень запомнился “Скотный двор” Джорджа Оруэлла. Его мне читала вслух мама, которая думала, что это детская книжка. Тогда никто из нас не понимал, что на самом деле мы читаем сатиру на советских политиков. То, что в ней нет хеппи-энда, очень меня изумляло, тревожило и радовало одновременно. Я до сих пор считаю “Скотный двор” ориентиром” (“Известия”).\n</blockquote>\n Есть и еще один момент, не позволяющий считать своеобразие языка “новой детской книги” осознанным приемом авторов. Дело в том, что речь идет о временном периоде в четверть века: “Чудаки и зануды” Старка впервые были изданы в 1984-м, а, например, “Где нет зимы” Сабитовой — в 2011-м. То есть речь никак не может идти об одной литературной тенденции, неожиданно затронувшей столько стран и поколений. Зато речь спокойно может идти о тенденции издательской, что не менее интересно и показательно.\nРассматривая издательскую тенденцию, стоит, прежде всего, понимать следующее: новая детская книга в России — это огромный пласт “проблемной” подростковой, младше-школьной и дошкольной литературы, писавшейся по всему миру (для России, впрочем, особенно актуальны США, Скандинавия и Япония) на протяжении последних пятидесяти лет. Очевидно, что за те пять лет, в которые отмечается возрождение интереса к детлиту в нашей стране, освоить полувековой мировой опыт решительно невозможно. В результате детская литература сейчас оказывается в ситуации схожей с той, что была в начале 90-х в литературе взрослой: ежедневно, ежечасно координатная сетка в сознании профессионального сообщества вынуждена меняться под давлением новых открытий, новых имен, новых методов. Темы, возникающие в России впервые (как говорить с детьми о педофилии, о наркотиках и насилии в школе etc.), оказывается, имеют во всем мире уже достаточно широкое освещение. Принципы, вырабатываемые на протяжении десятилетий, появляясь в России, вызывают недоумение и даже отторжение, поскольку мы не видим и не можем разом увидеть того пути, по которому шли вырабатывавшие эти принципы поколения писателей. Хуже того — даже сам контекст, в который встроены издаваемые книги, нам не всегда понятен и не всегда приятен.\nОчень характерна в этом смысле статья Елены Ленковской в журнале “Урал” этого года. Ленковская написала текст с тем приблизительно содержанием, что, мол, давайте родители будут внимательнее относиться к тому, что читают их дети, ведь в книге могут встретиться и обнаженка, и нецензурная лексика, и многое другое, к чему ребенок может оказаться не готов. Мысль сама по себе чрезвычайно свежая, как мы понимаем, но речь о том, какое выражение она нашла в означенной статье:\n<blockquote>“Вообще, чем больше “перца” — тем привлекательнее. Можно даже написать об инцесте, об изнасиловании дедушкой собственной внучки — подобная литература успешно номинируется на литературные премии, стало быть — официально приветствуется. <...> Западному писателю, чтобы быть в струе, надо писать именно о лифчиках, геях и долгоиграющих поцелуях (и изнасилованиях дедушками, если уж хочешь быть на пике мейнстрима). Как мы уже поняли, сексуальные отношения там занимают другую роль в культуре и жизни, и потому как нельзя более востребован умеренный такой, понятный обывателю, цивилизованный европейский эпатаж”.\n</blockquote>\n Все это великолепие проиллюстрированно Ульфом Старком, Мони Нильсон, Анникой Тор, Беатой Ханика и прочими авторами, принадлежащими к различным поколениям (между тем же самым Старком и на этот раз, скажем, Ханике — все та же четверть века). Понятно, что на их примере говорить о некой мировой установке на телесность — совершенно неуместно (о чем, например, очень хорошо и подробно пишет в “Живом Журнале” Ольга Мяэотс — <a href=\"http://o-funambulo.livejournal.com/56574.html\" title=\"http://o-funambulo.livejournal.com/56574.html\">http://o-funambulo.livejournal.com/56574.html</a>). Зато вполне уместно на примере этого же ряда проследить, как протекала работа по преодолению определенных табу в одной конкретной европейской области из поколения в поколение, как в результате то, что Ленковская считает эпатажем (переживания девочки-подростка о нерастущей груди, воровство лифчиков в магазине, испачканные первыми месячными трусы), стало для скандинавской культуры нормой быта, фоном, на котором писатель решает уже дальнейшие задачи. Но для того, чтобы проводить подобный анализ, нужно и самому принимать такое положение дел (когда твоя дочь в качестве акта самопознания ворует бюстгальтер в магазине) как нормальное. А Ленковская, судя по всему, напротив, чрезвычайно оскорблена:\n<blockquote>“В России образованное общество со времен Гаршина, Достоевского и передвижников одобряет другого рода интерес — интерес к слабым мира сего, к униженным и оскорбленным. <...> У нас любят, когда с надрывом... А эротизм европейский чужд в принципе — ведь в нем есть элемент игры (поэтому, кстати, там его так легко включают в детские книги), а у нас же все всерьез”.\n</blockquote>\nДля нее, не переживавшей все стадии искоренения телесных табу вместе со скандинавскими детьми, подобное поведения автора кажется фамильярностью по отношению к читателю, а собственная “провинциальность” (термин самой Ленковской, обозначающий положение России в целом) не требует работы над собой, но допускается как особый путь развития.\nНа деле отечественное отставание во многом (и в том числе в смысле преодоления закомплексованности) — лишь дань советской (никак не церковной, как считает Ленковская) традиции, где “Устинов не может отличить репродукцию герасимовской “Бани” от живой голой бабы, а Суслов называет ныряльщицу “летающей попой”” (“Русский Журнал”). Это принципиально важный момент, поскольку в таком ключе закомплексованность отечественного читателя уже никак не связана с его возможной духовностью, а проистекает из “подсознательного страха неподконтрольного живого” (там же), то есть не имеет никаких оправданий и должна быть непременно искоренена. Так появляется новая детская книга, чья цель как раз и состоит в проработке социальных табу, причем не только в сознании детей, но и в сознании взрослых.\nЕкатерина Асонова совершенно права, утверждая, что “Современные книги... нацелены не столько на поддержку процесса освоения детьми мира взрослых, сколько на создание условий для взаимного узнавания”. Однако речь не о том, что авторы вдруг выработали некий универсальный язык, а о том, что само общество постепенно отказывается от идеи необходимости такого языка или какого угодно другого специального языка для общения с ребенком. Речь о том, что само общество очень медленно и неуверенно, но все же начинает воспринимать ребенка как равного собеседника (а не таинственного инопланетянина с совершенно потусторонней психикой). Узнавание, которое якобы происходит благодаря усилиям автора, на самом деле происходит само по себе – как побочный эффект того, что авторы находят в себе отвагу говорить максимально честно. Точно так же поступали и Андерсен, и Чуковский, и прочие прекрасные писатели во все времена, однако именно сейчас общество ценит эту честность в литературе превыше всего остального.\nПотребность общества в приближении ребенка к себе (и к реальности), установку на “раскурочивание” болезненных зон очень остро переживают консервативные критики, для которых происходящие изменения означают не становление чего-то нового и чудесного, но крушение всей их системы ценностей, и, следовательно, воспринимаются ими как нечто вредное и опасное.\nТак, например, отзываются об адаптированной для детей Декларации прав человека два постоянных автора “БиблиоГида” Ирина Линкова и Ирина Казюлькина:\n<blockquote>“Не в первый раз взрослые нападают на детей со своими взрослыми проблемами. Если бы издатели и авторы... вовремя познакомились с Корнеем Ивановичем Чуковским, может быть, они были бы чуточку осторожнее в своем стремлении научить малышей всему и сразу. Только Чуковский нужен другой: не тот, что подарил нам Айболита с Бармалеем (неплохую, кстати, “книгу противоречий”), а тот, что внятными словами, на примерах из истории детской литературы предупреждал об опасности бестактного вторжения в детство”.\n</blockquote>\nКонечно, воспринимать хоть сколько-нибудь серьезно такого рода высказывания нельзя: ни содержательная сторона, ни сам тон их не настраивают на конструктивный лад.\nВо-первых, нужно понимать, что перед нами (осознанная или неосознанная) подмена. Чуковский говорил об опасностях раннего развития, а никак не о посвящении детей во “взрослые проблемы”:\n<blockquote>“Многим учителям и родителям не терпелось приобщить ребенка к тем сведениям, которые у них, у взрослых, почитались в данную эпоху нужнейшими… В Англии в XVI веке нашелся такой Вильям Коплэнд (William Copland), который изготовил для трехлетних детей в высшей степени полезную книгу “Тайна тайн Аристотеля” и рекомендовал ее в качестве “очень хорошей”… Другой детский писатель XVI века — Уинкин де Уэрд (Wynkyn de Worde) — так и назвал свою книгу: “Трехлетний мудрец”, где он, между прочим, обращался к трехлетнему младенцу с вопросом: “Мудрое чадо, как сотворены небеса?”” (Чуковский К.И. “От двух до пяти”. – М., 2012, с. 282).\n</blockquote>\nПодмена тем более очевидна, если принять во внимание, что сам Корней Иванович никогда не отказывал себе в удовольствии решать через детскую литературу “взрослые” задачи (вспомним хотя бы “Крокодила” или “Тараканище”).\nВо-вторых, предполагать, что раньше к детству относились гораздо трепетнее (а на этом и строится вся теория критиков о несостоятельности новых детских книг), довольно нелепо: адаптированной Декларации прав человека предшествовали детские стихи Маяковского, Введенского, Сапгира и Родари, книги Сэллинджера, Крапивина и Кауфман, которые никак нельзя обвинить в невовлеченности во взрослую жизнь. И хотя это еще вопрос, что беспардоннее вторгается в детство: “Чем пахнут ремесла” или книжка-картинка о том, что все люди равны, — стоит просто признать, что для каждого времени характерен свой контекст — будь то борьба с буржуями или борьба с ксенофобией. И не вовлекать детей в этот контекст возможно лишь в ущерб качеству детской литературы, которая, как всякое искусство, является отражением своего времени.\nХотя нападки на новую детскую литературу весьма спорные, нужно согласиться с Линковой и Казюлькиной в одном (если предположить, что они именно это имели в виду): повышенный интерес к проблемной литературе действительно связан с увеличением потока информации о мире, поступающего в детское сознание; без увеличения этого потока подобный интерес был бы попросту невозможен. Другое дело, что высказываться против абсолютно естественного процесса (и к тому же процесса неизбежного) кажется малопродуктивным. Гораздо важнее разобраться, как и почему мы оказались в этой ситуации и что теперь делать.\nВ первую очередь нужно понимать, что сейчас сформировалось не только поколение детей, но и поколение родителей, характеризуемое исследователями как digital natives. Это люди, для которых Интернет, современные способы коммуникации и современные способы получения информации являются единственно знакомыми, единственно возможными. Все чаще можно видеть родителей, судорожно гуглящих ответ на детское “Это что?” и “Почему?”, все больше детей уже к двум годам понимают, как устроены планшеты и что при желании в них может найтись и картинка с кошкой, и мультфильм про нее же, и книжка, и магазин, где этих кошек продают. Все это (в случае совсем маленьких детей — через родителей, в случае подростков — минуя каких бы то ни было посредников) дает ребенку значительно больше информации, чем привыкли потреблять старшие, более того, современный мир провоцирует совсем другой способ восприятия этой информации, ранее возможный, но нераспространенный.\nДело в том, что теперь всякое знание представлено совершенно иначе, чем, скажем, двадцать лет назад. Короткие резюме-ссылки на развернутый материал, каты, превью — все это дает возможность не только выстраивать дополнительные фильтры, но и бегло потреблять самые разнообразные сведения, которые раньше никогда бы не попали в сферу нашего внимания. К тому же (и в этом многие видят недостаток Интернета) информация теперь не имеет очевидной иерархии. Безусловно, есть более и менее авторитетные ресурсы, но для ребенка нет принципиальной разницы между Википедией и Институтом русского языка. Так же для него стираются и границы временные: “Мифы Древней Греции” не предшествуют сказкам Бормора, а сказки Андерсена — книгам Ульфа Старка, они идут рука об руку, формируя у ребенка чуткость к интертекстуальным и иконографическим связям, способность комплексно рассматривать всякое явление.\nДетский психолог Екатерина Мурашова пишет:\n<blockquote>“Игры детенышей у млекопитающих имеют совершенно отчетливый и никем вроде бы не оспариваемый смысл: они готовят зверят к взрослой жизни, развивают необходимые в ней навыки и умения. <...> Смотрим, что делают теперешние дети, к чему они готовятся. Разговаривают (куда лучше, чем мы, в их возрасте мы были почти бессловесными)… Знают языки и вообще больше и разнообразнее информированы (мы ничего толком не знали о мире, а железный занавес считали естественным предметом международной обстановки). Что же имеем на выходе? Вербально (может быть, на нескольких языках) развитый… способный длительно (почти до старости) обучаться индивид” (Snob.ru).\n</blockquote>\nРазумеется, такому индивиду гораздо проще “переварить” книгу о трагедии в Хиросиме: к моменту чтения этой книги у ребенка, вероятно, уже есть некоторое понимание происходящего, а если и нет, он потенциально способен усвоить достаточный объем знаний, чтобы как-то истолковать для себя те события. Помимо “сложных сюжетов” современный ребенок гораздо лучше подготовлен к восприятию уже упоминавшейся двойной адресации: когда-то казавшиеся “взрослыми” смыслы современному ребенку вполне по плечу. Это проявляется и в том, что книги, предназначавшиеся когда-то для старшеклассников, теперь читают лет в одиннадцать (как, например, “Мастера и Маргариту” или романы Кундеры), и в появлении моды на чтение детям неадаптированных сказок братьев Гримм, Перро, Андерсена.\nВ результате оказывается, что издательский (и читательский тоже, что бы ни говорили противники прогресса) интерес к проблемной литературе — лишь попытка угнаться за стремительно меняющимися потребностями детей, для которых книги прошлых лет уже не могут быть ориентиром: несмотря на вечные ценности, в них заложенные, они больше не являются отражением реальности, от которой, увы, никуда не деться.\nПоэтому основная задача сейчас — и авторская, и издательская — заполнить те ниши, без которых ребенку просто невозможно будет функционировать в современном мире. Конечно, есть проблемные области, в достаточной мере освещенные и отечественными, и зарубежными авторами. Кажется вполне проработанной тема развода родителей и взаимоотношений отчима, мачехи с ребенком. Более или менее отрефлексирована тема смертельных или неизлечимых болезней. Однако то, что окружает ребенка ежедневно, в современной детской литературе фактически отсутствует.\n<blockquote>“Почти вымер, например, жанр школьной повести, — говорит Дина Сабитова (сама фактически в одиночку разрабатывающая темы сиротства, приемных детей и детских домов). — Конечно, понятно, почему школьная повесть исчезла: если писатель начинает писать о школе, в большинстве случаев становится ясно, что написанное — абсолютная выдумка, к реальности не имеющая никакого отношения. Школа очень сильно изменилась за последние двадцать лет. Человек, выросший в 60-е годы, в начале 80-х мог спокойно писать книги о школе, потому что хорошо себе представлял, как оно там все внутри устроено: школа была практически неизменной. Но мы, взрослые люди, учившееся в 80-е, просто не знаем, что сейчас делается там, внутри школы, какой там сленг, какая там обстановка, что вообще происходит там с нашими детьми”.\n</blockquote>\nКонечно, есть несколько совсем недавних примеров, вроде Марины Аромштам, Тассиеса, Юханны Тидель (хотя для нее проблемы школьных взаимоотношений являются, скорее, фоном для рассмотрения других вопросов), которые предлагают детям хотя бы частичное отражение реальности, однако большинство возможных школьных проблем никаким образом в детской литературе не отражено, и ребенок, сталкиваясь с ними, не имеет возможности переработать травму через художественное произведение.\nЕще более плачевно обстоят дела с вопросами расовой и религиозной терпимости, толерантности к сексуальными меньшинствам, хотя, казалось бы, именно эти вопросы встают в современном обществе наиболее остро. Существует лишь несколько книг, весьма косвенно затрагивающих подобные вопросы, но и те слишком оторваны от реалий сегодняшнего дня: “Коричневое утро” Франка Павлоффа — аллегорический рассказ о фашистской Германии — никак не может заменить романа о буднях кавказского ребенка в Москве, уже упомянутая Декларация прав человека в картинках не заменит истории о том, как мальчик-подросток осознает, что он — гей, “Одного поля ягоды” Перниллы Сальфельт не объяснят ребенку причины религиозных войн.\nПонятно, что отсутствие подобной литературы вполне закономерно, учитывая, что и в мире взрослых все эти проблемы остаются нерешенными. Однако именно сейчас детская литература стала площадкой, идеально приспособленной для постановки, может быть, весьма болезненных, но — объективно — важных вопросов. Более того, кажется, что теперь дети действительно подготовлены к тому, чтобы решать эти вопросы — самостоятельно или вместе со взрослыми. И основная задача литературного сообщества на данный момент представляется сложной, но однозначной: попытаться проработать до сих пор не проработанные травмы, чтобы в будущем они не настигли наших детей.\nМария Скаф\nИсточник:<a href=\"http://magazines.russ.ru\"> http://magazines.russ.ru</a>\n \n \n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:d2545a51c3e9515df52a8d3a95ca18bd' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'При составлении нашего рейтинга детских книг мы  учитывали издания, выпущенные в России в 2012 году. Эти книги, по мнению редакции, может позволить себе российский родитель/родительница не разорившись (ну или почти не разорившись :). При этом книга просто обязательно должна быть разумной, доброй или вечной.\nИтак — вот они книги, замеченные нами в 2012 году.\n<h3>Лучшее иллюстрированное издание</h3>\n«Волшебные сказки о принцах и принцессах» (РИПОЛ классик).\n <img src=\"/sites/default/files/pictures/ripol_big-6.jpg\" width=\"250\" height=\"341\" />\nВ шикарный сборник, изданный на мелованной бумаге, вошли сказки Г. Х. Андерсена, Ш. Перро, братьев Гримм. Иллюстрации выполнены удивительной Анастасией Архиповой.\n<h3>Лучший текст</h3>\nО. Колпакова <a href=\"http://kidreader.ru/book/540\">«Большое сочинение про бабушку»</a> (ЖУК)\n<img src=\"/sites/default/files/pictures/cover-kolpakova.jpg\" width=\"250\" height=\"375\" />\nПрекрасная история о русской культуре и связи поколений. Книга издана в рамках серии  «Для тех, кому за 10»,  к которой стоит присмотреться.\n(Вне конкурса) О. Мандельштам «Два трамвая. Стихи для детей» (ОГИ)\n<img src=\"/sites/default/files/pictures/dva_tramvaya.jpg.gif\" width=\"250\" height=\"250\" />\nАбсолютно необходимые бессмертные стихи.\n<h3>Лучшая развивающая книга</h3>\n<a href=\"http://kidreader.ru/book/570\">«Метро»</a> Волкова Н., Волков В., «От паровоза до Сапсана» М. Улыбышева, «Как я стал путешественником» Ф. Конюхов (детский проект журнала «Фома» «Настя и Никита»).\n <img src=\"/sites/default/files/pictures/sbornikRZD-m.jpg\" width=\"150\" height=\"192\" /> <img src=\"/sites/default/files/pictures/metro-m.jpg\" width=\"150\" height=\"184\" /> <img src=\"/sites/default/files/pictures/konuhov-m.jpg\" width=\"150\" height=\"184\" />\nЗамечательный просветительский проект, основой которого стали «добрые истории, написанные от чистого сердца на хорошем русском языке». Произведения для детей от 5 до 11 лет делятся на художественные и научно-популярные. По форме — недорогие брошюры.\n<h3>Лучшее игровое издание</h3>\n<a href=\"http://kidreader.ru/book/561\">«Городское ралли. Санкт-Петербург»</a> Х. Патаке (Самокат)\n<img src=\"/sites/default/files/pictures/rally.jpg\" width=\"200\" height=\"411\" />\nИгра-прогулка, которая поможет ребенку узнать больше об одном из самых красивых городов мира. Вышла вслед за «Московским ралли». В планах издательства — прогулка по городам Золотого кольца.\n<h3>Книга для досуга</h3>\n«Муми-тролли. Волшебное лето. Книжка с наклейками» (Махаон).\n<img src=\"/sites/default/files/pictures/mumin.jpg\" width=\"250\" height=\"338\" />\nЛюбимые персонажи наконец появились и в книжках для детского досуга. Ведь малыши, как гласит слоган одной из серий издательства, сегодня выбирают наклейки. Что ж, с этим трудно спорить.\n<h3>Научно-популярная книга</h3>\n«Бородинская битва. 1812» Эйдельман Т., Бунтман Е. (Лабиринт-пресс)\n<img src=\"/sites/default/files/pictures/borodiono-1812.jpg\" width=\"250\" height=\"295\" />\nОбъемные конструкции, подвижные элементы и клапаны, панорамные, раздвижные страницы — далеко не все плюсы издания, которое поможет ребенку в интересной для него форме изучать историю своей страны.\n<h3>Лучшая книга для подростков</h3>\nК. Киери <a href=\"http://www.kidreader.ru/book/861\">«Совсем не Аполлон»</a> (КомпасГид)\n<img src=\"/sites/default/files/pictures/Kieri_Sovsem_ne_Apollon.jpg\" width=\"250\" height=\"394\" />\nХорошая подростковая книга, за которую шведский автор Катарина Киери была номинирована  на престижную премию имени Августа Стриндберга.\n<h3>Лучшая книга для маленьких (возможно, самых)</h3>\n«Сказки от капризов» Соколов Д., Белинская Е. В., Лаптева Г. В. (Речь)\n<img src=\"/sites/default/files/pictures/skazki_ot_kaprizov.jpg\" width=\"300\" height=\"211\" />\nЭта книга предназначена и для рассматривания, и для совместного чтения. Как обещают издатели, она «поможет ребенку избавиться от вирусов плохого поведения и непослушания».\n<h3>И, наконец, для родителей</h3>\nМ. Аромштам <a href=\"http://www.kidreader.ru/book/718\">«Как дневник»</a> (КомпасГид)\n<img src=\"/sites/default/files/pictures/dn_big.jpg\" width=\"250\" height=\"386\" />\nНеравнодушный педагог — неравнодушным родителям. Прекрасная книга по воспитанию взрослых.\nС наилучшими пожеланиями, редакция KidReader.ru\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:b6b24e5a440cb16e4626c5c0ed5cd617' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Статистика книжной отрасли в 2012 году показывает дальнейшее падение продаж и в экземплярах, и в рублёвом эквиваленте. Кризис можно пытаться переждать, но куда верней активный поиск новых решений и форм работы с книгой. Этот путь выбрали участники конференции «Книга завтрашнего дня: инновации в книгоиздании и технологиях продаж».\nОшибка богатырей\nВ нашей стране брендингом книжной продукции первым занялось издательство «Эгмонт», довольно долго остававшееся единственным на этом поле. Главный редактор Михаил Морозов сделал экскурс в прошлое.\n— История книжного брендинга в России стартовала осенью 2000 г. с появлением на телеканале РТР «Телепузиков». Если отбросить шутки по поводу говорящего пылесоса и прочих моментов сериала, получается, что изобретение английских психологов, педагогов, маркетологов, телевизионщиков моментально завоевало свою аудиторию. Сразу же очень мощно оно вышло и на российский рынок, а благодаря контенту и качеству подачи различные компании смогли использовать бренд в продвижении своих товаров. «Телепузики» до сих пор остаются уникальным явлением на мировом телевидении. Почему-то больше никто не создал программу, столько же чётко адресованную детям от 0 до 3 лет.\nСтартовавший одновременно на канале ОРТ «Покемон» продемонстрировал другую особенность брендирования. В основу сериала была заложена идея коллекции, поэтому «Покемон» работал для постоянной и всё расширяющейся аудитории, желавшей посмотреть все серии, собрать всех героев и купить определённое количество книг.\nЖаль, что эти два кита, с которых начался книжный брендинг в России, абсолютно не по своей вине довольно быстро пришли в упадок.\nПотом появились «Смешарики», «Лунтик», «Маша и Медведь». Если успех первых двух связан с количеством показов на телевидении, то «Маша и Медведь» – уникальное событие даже в российской культуре. Бренд чрезвычайно популярен на протяжении уже трёх лет, хотя за это время в российский прокат вышло чуть больше 30 коротких серий. Думаю, успех можно приписать и заслугам нашего издательства, потому что, в отличие от «Смешариков» и «Лунтика», мы начали работать с брендом «Маша и Медведь» ещё до выхода мультфильма...\nСейчас для брендирования сложное время, считает М. Морозов. Причин несколько, и в первую очередь «внутренний каннибализм» продуктов. Гонясь за быстрой выгодой, производители стараются «выбросить» на рынок побольше брендов, не просчитывая результат. Каким он бывает, видно на примере продукции Сartoon e-books. Несколько почти одновременно появившихся брендов очень быстро «съели» друг друга. Эта уже общемировая тенденция катастрофически сокращает время жизни брендов (кроме «вечнозелёных» вроде Disney или Barby). По привычке издатель расширяет  ассортимент, объём производства, рассчитывая на 5–7 лет работы бренда. Но вот тираж в рознице, и вместо ожидаемого пика популярности происходит резкое её падение, потому что теперь бренд живёт всего три года.\nПо данным маркетологов, нередко бренд попадает далеко не в ту аудиторию, на которую рассчитывали авторы. Так, «Hello, Kitty» адресовался маленьким девочкам – любительницам розовых кошечек. Но статистика продаж (в том числе печатной продукции «Эгмонта») показала, что самой благодарной аудиторией бренда стали девушки-подростки.\nИнтересен и казус с сагой про трёх богатырей, также приведённый М. Морозовым. Мультфильм питерской студии «Мельница» по кассовым сборам способен был конкурировать даже с продукцией Disney. Однако популярным брендом он не стал, несмотря на мощную рекламную поддержку и обилие товаров, которые пытались под него выпустить. Долго думали, что не так, и поняли: дело в самой концепции «богатыриады». Мальчик 5–10 лет хочет ассоциировать себя с суперменом, но это супермен из реального, узнаваемого мира. А богатыри сериала – прежде всего смешные, ничего, кроме улыбки, не вызывают. И мир, где они обитают, оторван от реальности по всем категориям. Поэтому не получается у ребёнка ассоциировать себя с ними, полюбить их.\nКнижка — не игрушка!\nУ издательства «Росмэн» есть успешный опыт работы с российскими брендами, но Генеральный директор Борис Кузнецов говорил о проблемах.\n— Доля брендированной продукции на нашем детском книжном рынке не превышает 5–7%. В США это 20–25%. По отдельным категориям – раскраскам, играм, наклейкам – у нас около 20%, в США до 90%. Вообще, на российском рынке пока не сформирована матрица брендовых проектов. Не хватает брендов для мальчиков, не развита категория развивающих книг для дошкольников, нет бренда специалиста по развитию и обучению детей. За рубежом таких примеров множество. А взять книжки-игрушки – эта категория лучше всего брендируется, она приходит не только в книжный канал, но и в игрушечный. Но и здесь брендов немного.\nНадо сказать, книжный бизнес оказался более готов к лицензированию, чем игрушки, канцтовары и другие категории. Поэтому лицензионные агентства выходили в первую очередь на книжников, и в какой-то момент надежды на наш ассортимент были гипертрофированы. Помню, когда всё только начиналось, 10 тысяч долларов минимальной гарантии, т.е. аванса правообладателям, считались нормальной гарантией за приличный бренд. В последнее время суммы достигают сотен тысяч долларов. Но детские книги – это всё-таки сопутствующая история бренда, и нельзя надеяться получить с них такие же деньги, как с игрушек или канцтоваров. На зарубежных рынках детская книга в пакете лицензирования занимает место одного из дополнительных драйверов к основному, например к мультфильму.\nВсе помнят, какой восторг вызывали бренды при своём появлении. Но полтора-два года назад начался «откат» от этой продукции. Причина понятна: если ребёнку нравится «Маша и Медведь», эта любовь выражается количеством его контактов с «Машей и Медведем». Пока сказка существует только в книжках, на них и сосредоточены контакты. Однако за последнее время очень серьёзно развились канцелярская категория, игрушечная, сувенирная, модные аксессуары. Естественно, книги должны были уступить. Ситуацию усугубило отсутствие в тот момент медийных телепроектов с сильной поддержкой драйверов. Многие книготорговцы до сих пор перезатоварены брендированной продукцией, относятся к ней с недоверием.\nМесто на «Карусели»\n— Это временный негатив, реабилитация произойдёт за пару лет, – уверен Б. Кузнецов. – В освоении этого рынка и нам, издателям, и книготорговцам, и лицензионным агентам надо учитывать ряд ограничений, в том числе возрастных. На мой взгляд, предел эффективного лицензирования компьютерной продукции – это бренды для детей до 8–9 лет, потому что потом начинается потребление продукции в других категориях – канцелярской, сувенирной, аксессуарной. Наиболее эффективный сегмент, в котором происходит книжное брендирование, это 3–6 лет.\nПри выходе на рынок сложности возникают и с отдельными категориями, и с  сегментами. Так, активити (раскраски, наклейки и проч.), на которые приходятся основные продажи, это сегодня, по сути, игры, а значит, очень успешно переходят на любые устройства. Таким образом, сегмент наиболее подвержен конкуренции со стороны электронных книг и игр.\nДругой сегмент, требующий внимания издателей, – новеллизации, т.е. книги, созданные по мотивам брендов. Лет 10 назад и у нас, и на зарубежном рынке вслед за романом-бестселлером могла появиться экранизация, затем – бренд. Теперь же наиболее успешные бренды идут другим путём: художественный текст создаётся после экранизации. А дальше – брендирование, продажи. Так вот, текст срабатывает далеко не во всех случаях...\nВремя жизни брендов сжимается. С другой стороны, мощный бренд может стать тормозом для новой продукции. По мнению Б. Кузнецова, авторские бренды очень неплохой советской детской литературы заставляют издателей держаться двух десятков имён, плюс русские народные сказки. Создавать бренды с новыми российскими авторами фантастически тяжело. В то же время наш рынок заметно отличается от европейского наличием собственных брендов, причём на первом уровне.\n– Это и «Маша и Медведь», и «Смешарики», и «Лунтик». Но опять-таки, специфика России – у нас выделяется микроскопически мало эфирного времени для детского контента. Это как госмонополия на нефть и газ. А бренд образуется именно телевидением, в редких случаях – полнометражным фильмом. Поэтому сейчас мы зависим от того, как будет развиваться телеканал «Карусель». Это очень серьёзная площадка.\nСитуация изменится, но нужно учиться. Агентам – учиться правильно выводить продукт на рынок, раздавать категории, оценивать минимальные гарантии. Нам, издателям, – правильно выявлять бренды, строить ассортимент, запускать и сегментировать его по каналам сбыта. На чём-то уже обожглись, есть опыт, хотя по сравнению с Европой находимся ещё на старте.\nГлавный «телевизор»\nГенеральный директор сети «Новый книжный – Буквоед» Михаил Иванцов советует не рассматривать тему брендинга в рамках только книжного бизнеса.\n— Для нас бренд – это единое обращение к потребителю. А в каком виде тот готов коммуницировать с брендом – в виде книги, канцтоваров, игрушек, сувениров, – это уже вопрос технологий. Поэтому призываем издателей, беря на себя книжную и околокнижную тему, не оставаться в узких рамках, а идти к конечному потребителю через книжную розницу, игрушечную – через все каналы доступа. Я не разделяю пессимизма по поводу ситуации в книжной торговле. У нас в этом году количество посетителей даже выросло. Если предлагать качественный, бренд-ориентированный, нужный продукт, будет правильная реакция.\nДа, слишком мало времени мы получаем на телевидении. Но сегодня, когда есть многоканальное телевидение, не говоря уже об Интернете, возможности выйти на аудиторию достаточно широки. И следует учитывать, что читают книжку дети, но покупают-то родители. Как фанат бренда «Маша и Медведь» могу сказать, что это отнюдь не детский мультик, поэтому у него хорошее будущее – возможно, как у «Алисы в Стране чудес», «Винни-Пуха». Благодаря контенту и многослойной канве они становятся элементами общей культуры.\nРазговор о месте бренда в розничной торговле продолжил руководитель компании «Буквоед» Денис Котов.\n— Работа с брендированными продуктами даёт вполне ощутимые результаты. Например, консолидация и визуализация пространства под продукцию Disney дала моментальный рост на 60% и потом на 20–25%. Конечно, у нас есть свои идеи, они реализуются в программе мерчендайзинга. Но оформлять магазин под бренд – это ведь и задача издателя как держателя бренда или человека, на нём зарабатывающего. Через сеть «Буквоед» в месяц проходит примерно миллион человек – неплохая коммуникационная база для любого бренда. К сожалению, та стадия эволюции, на которой находится идея брендинга в головах у большинства издателей, пусть не нулевая, но зачаточная.\nЕсли у коллег сложится целостное представление не только о создании, но и о продвижении своего продукта, нам станет легче договариваться. Издатель должен понимать, что он делает в рознице и зачем, какие площадки для презентации брендов допустимы в маленьком магазине, какие в крупном. (По ходу дискуссии яркий пример «взаимопонимания» издателей и торговли привёл М. Морозов. Специально для продаж великолепного продукта «Волшебная ручка» издательство «Эгмонт» заказало дорогое оборудование и предложило его магазинам задаром. Из 500 штук удалось «пристроить» только 250.)\nВернувшись к теме телеэфиров детских передач, Д. Котов предложил оценить огромный, но пока мало востребованный медийный ресурс розничной сети, имеющей телеэкраны, радиофикацию, пространство магазинов и массу информационных поводов, работающих на бренды. Если издатели убедятся в том, что главный «телевизор» – это книжная сеть, то начнут учиться правильно размещать свои бренды в этом трёхмерном «ящике». Потому что за 15–20 минут, которые человек проводит в магазине, он может получить достаточно много сообщений. Сегодня книжный магазин тих и молчалив, но есть примеры, когда он начинает разговаривать.\nВысоко оценивает потенциал розницы и гендиректор «Клевер Медиа Групп» Александр Альперович.\n— Молодому издательству пока трудно управлять активностью в регионах. Поэтому есть цель – выйти на региональные рынки таким образом, чтобы дотянуться до конкретных акций. «Клевер Медиа Групп» ищет покупателей повсюду, даже там, где их не ждут. Однако не работает с оптовиками, поскольку не получает от них точной информации о том, где и каким ассортиментом будет представлено, каких результатов удастся достичь. Для издательства детской литературы, каждую книгу выпускающего как инновационный продукт, это важные вопросы.\n– Делая книгу, мы в первую очередь спрашиваем себя, в чём её ценность для ребёнка, что он найдёт в ней с точки зрения не только развития, обучения, но и просто интереса, – говорит А. Альперович. – Я считаю глобальной ошибкой делать акцент на том, что книги читают детям, но покупают-то родители. Есть покупатели – родители и есть потребитель – ребёнок. Когда спрос идёт от потребителя, который подталкивает покупателя к покупке, эффект гораздо больше, чем когда решение принимает сам покупатель. Обращение исключительно к родителям привело к тому, что Россия – единственная страна в мире, где 80% детских книг – это произведения, созданные 100 или более лет назад. Мы закрываем наших детей от современной книги, от сегодняшних проблем, и этим способствуем разрушению привычки к чтению. Но вся история детских брендов построена на том, что это коммуникация в первую очередь с детьми.\nСегодня в нашем прайс-листе более 100 наименований, среди них 8–10 «длинных» проектов, которые уже выстраиваются в бренды. В прошлом году, например, абсолютным хитом стала книга-игра «Живая книга» французского художника Эрве Тюлле. Сейчас сделали огромную линейку из раскрасок этого же автора, книг, связанных с активностью. Когда впервые выводили продукт на рынок, встречали сопротивление родителей, книготорговцев. Но у детей другая реакция, они всё схватывают на лету. Нам удалось достучаться до них, и первая книга переживает уже третье издание.\nКод недоступен\nКорни проблем книжной отрасли как будто ясны. Но можно копнуть поглубже – как это сделал руководитель издательства «РИПОЛ Классик» Сергей Макаренков.\n— В одной статье я прочёл, что любовь к чтению является врождённой и наименее внушаемой. То есть некое число людей рождаются с этим геном, и изменить пропорцию крайне сложно. Читающие люди обладают определённым паролем, по которому и узнают друг друга. Мне представляется, что сегодня этими паролями, или кодами, должны обменяться писатель и издатель. Потом – издатель и книгораспространитель, книгораспространитель и покупатель. Но проблема в том, что мы не знаем этих паролей. И вот не выстроена философия взаимоотношений издателей и книготорговцев. Ни те, ни другие не умеют презентовать книгу, а технологией налаживания отношений между ними никто не занимается. Но вот недавно в «Библио-Глобусе» удалось распродать почти 1000 экземпляров изданного нами сборника совершенно неизвестного автора. Удалось именно потому, что состоялось взаимодействие издателей и книготорговли...\nНеужели всё дело в генах и кодах? Владелец двух парижских магазинов Жан-Поль Колле не скрывает удивления.\n— Нет, я не согласен с тем, что любовь к чтению даётся от рождения, потому что в этой любви много приобретённого. И здесь важную роль может сыграть книжный магазин. Что и говорить, сейчас непростые времена для книги. Каждую неделю появляются сотни новинок, а покупателей приходит всё меньше. И мы стараемся привлечь их чем-то особенным. В магазине для детей и юношества устроили уголки по темам и интересам, проводим встречи с художниками и писателями. Читатели видят, как создаётся иллюстрация, задают вопросы известным авторам. В России гораздо сложнее пригласить на Дальний Восток иллюстратора из Москвы, хотя и нам приходится решать вопрос финансирования таких мероприятий.\nПо наблюдениям месье Колле, профессионалов двух стран тревожат примерно те же темы: налоги, презентация продукции, распространение. Сегодня даже самые крупные книжные магазины Франции вынуждены торговать канцелярией, игрушками. И всё-таки 80% – это книги.\n… Темой бренда конференция начиналась, ею же и завершалась. Два бренда, от которых зависит успешное развитие отрасли, представил Денис Котов.\n— Эти бренды – «книга» и «книжный магазин». За четыре года отрасль потеряла 20% магазинов, в следующем году закроется ещё не менее 200. Неважно, под каким брендом работает магазин – важно, какое к нему отношение. И обновление должно пройти по всем компаниям и по всем регионам. Бренд «книга» тоже необходимо перепозиционировать на динамичный, модный продукт. Потому что если молодёжь не будет стремиться к нему, то потеряем массу суб-брендов, которыми мы сами называемся. Я предлагаю активно включаться в общественную стратегию продвижения чтения. Мы слишком долго ждали, пока правительство займётся этой задачей. Пора действовать самим.\nМарина Рубанцева. Благодарим за предоставленную публикацию журнал <a href=\"http://www.unkniga.ru/\">\"Университетская книга\"</a>, впервые материал был опубликован в ноябрьском номере за 2012 год.\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:ce5ea544f7ca10568bd8b6f4fb73217a' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Но обычно у детей все-таки есть мама. Про мам нередко пишут стихи и сказки, вот и в песне поется «Пусть всегда будет мама», а про папу ни слова. Однако порой встречаются и полные семьи (не слишком часто, прямо как в жизни). Или неполные, но с папой. Да, с папой! Мы выбрали пять книжек, где есть интересные папы и истории про них.\n 1. «Дочурка Груффало» — продолжение хитовой книжки Джулии Дональдсон «Груффало».Чтобы не попасть на обед к более сильным зверям, мышонок выдумывает страшного зверя Груффало и сам сталкивается со своей выдумкой, которая стала реальностью. Как многие большие и страшные звери, Груффало глуповат, и мышонок обращает его в бегство. Во второй книжке оказывается, что у Груффало есть дочка (в оригинале просто Gruffalo’s child). Груффало — ответственный родитель, который не хочет, чтобы ребенок повторял его ошибки. Поэтому он запрещает дочке ходить в лес, пугая страшным мышонком. Дочурка Груффало нарушает запрет, убеждается, что папа был прав, но возвращается домой невредимой. Русский перевод финала стихотворения поможет укрепить привязанность малыша и папы:\nКак хорошо в пещере… Уснуть под звуки храпа… И ничего не страшно, когда под боком папа!\n2. Пеппи Длинныйчулок — девочка из неполной семьи. Ее мама — ангел на небе, а папа Эфроим — капитан дальнего плавания и негритянский король. Он разрешает дочке жить так, как она хочет, и своевременно снабжает золотыми монетами. Мечта многих девочек!\n— Вот именно, — подхватила Пеппи. — Для маленьких детей совершенно необходимо, чтобы жизнь шла по заведенному порядку, а главное, чтобы этот порядок завели они сами!\n Тем не менее папа успел дать дочке много полезных навыков. Благодаря путешествиям на корабле она научилась готовить (у корабельного кока), узнала мир и даже выучила некоторые буквы. Папу и дочку объединяют два качества: физическая сила и умение художественно врать. Врут они одинаково хорошо, но Пеппи сильнее папы — и физически, и морально.\n3. «Рони, дочь разбойника», еще одна повесть Астрид Линдгрен, разрушает стереотип «мужчине нужен сын». Разбойник Маттис обожает свою дочку. У Рони вообще прекрасная семья, у нее и мама замечательная — сильная и надежная, нежная и заботливая, но не удушающая своей заботой. Отец больше трясется над дочкой, чем мать. Рони воспитывают в модном сейчас руссоистском духе: гармония с природой, изучение ее законов на практике, закаливание (она бегает босиком большую часть года). А дальше случился классический конфликт из «Ромео и Джульетты»: Рони подружилась с Бирком, сыном вражеского разбойничьего атамана. Эта повесть Линдгрен тоже закончилась «победой» дочери над отцом: после ряда драматических событий Маттис постепенно смирился и с этой дружбой, и с тем, что Рони не собирается продолжать его дело.\n— Да, малышка, в этих вот маленьких ручонках ты держишь уже мое разбойничье сердце, - заявил он. — Не знаю, как это случилось, но так оно и есть.\n4. Мой папа не любит, когда я мешаю ему читать газеты. Но я про это всегда забываю, потому что мне очень хочется с ним поговорить. Ведь он же мой единственный отец! Мне всегда хочется с ним поговорить. В «Денискиных рассказах» Виктора Драгунского двое взрослых, но взрослый абсолютный и непоколебимый — только мама. Она часто делает выговор одновременно папе и сыну, а уезжая, просит Дениску присмотреть за папой. Но Денискин папа — все же не какой-нибудь инфантильный персонаж типа героя фильма «Ирония судьбы». Он, например, часто остается один с ребенком и знает, что надо делать. Он умеет показывать фокусы. У него есть водительские права, и он даже ездил в автопробег Москва — Хабаровск.\nВообще, с ним весело и интересно, за исключением случаев, когда он начинает своего сына воспитывать. Узнав, что тот занял третье место по плаванию, допытывается, кто же занял первое и второе. Увидев, что сын научился кататься на велосипеде, критикует его осанку. Включаясь в шуточную игру, делает выговор. А когда Дениска не хочет есть молочную лапшу с пенками, рассказывает ему про то, как голодал в годы войны. Современному читателю кажется: ну дались им эти пенки, убрали бы пенки, раз ребенок их не любит. Но тут мальчик Дениска берет и съедает все до дна, и даже ложку облизывает.\n— Да забудь ты, — сказала мама, — не стоит так переживать! А папа посмотрел на нее и покачал головой и замолчал. И мы лежали вдвоем на диване и молчали, и мне было тепло рядом с ним.\n5. Доктор Яновский из трилогии А. Бруштейн \"Дорога уходит в даль\" — врач и подвижник. Его прототип, отец писательницы, героически вел себя во времена нацистской оккупации Вильны и погиб несломленным. Доктор Яновский, отец девочки Сашеньки, воспитывает дочку в основном личным примером. Она видит, что папа просыпается ночью, чтобы бежать к больному, бесплатно лечит бедняков и очень любит свою работу. При этом в быту он анекдотически непрактичен. Как и положено выучившемуся на медные деньги, доктор придает огромное значение образованию: нанимает дочке частных учителей и отправляет не в гимназию, а в институт, потому что там изучают тригонометрию. В первый учебный день он дает ей главное наставление: «Не врать!»\nНекоторые методы доктора Яновского сейчас могут показаться категоричными. Только что подаренную красивую куклу нужно навсегда отдать бедным ребятишкам. Собранные без спросу яблоки-паданцы отнести хозяевам с признаниями и извинениями.\n— Вот что, — сказал он наконец, — запомни, пожалуйста, на всю жизнь: ни одной чужой копейки, нитки чужой, куска чужого никогда не смей брать! А теперь — не ходи за мной… И не попадайся мне на глаза… ну, хоть до вечера. Мне на тебя смотреть противно.\nНо на самом деле у Сашеньки замечательный папа. Самые счастливые минуты — с ним. Самые откровенные разговоры — тоже с ним. И даже открытие «папа может не все» проходит достаточно безболезненно. Не все, но многое. Главное.\nАся Вайсман, <a href=\"http://family.booknik.ru\" style=\"font-size: inherit; font-style: inherit; font-variant: inherit; line-height: 1.4em;\">Источник: Booknik</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:b42189bb4771761c604dc7aee5421632' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'В круге детской литературы, как и в любом явлении, циркулирует множество мифов. Например, в середине ХХ века меня без устали уверяли, что детской литературы до 1917 года не существовало вовсе, зато уж после октябрьского переворота начался бурный ее расцвет. Однако к концу века появились иные заблуждения — и некоторые из тех же специалистов и с тем же жаром принялись убеждать, что все, созданное за время “от Ильича до Ильича”, нужно навсегда вычеркнуть из истории литературы как чтение, вредоносное для детского организма. Сейчас, в начале нового века, сосуществуют два противоположных предрассудка: одни уверяют, что детской литературы нынче нет вовсе, другие — что именно сегодня создается самое гениальное.\nЯ мог бы перечислить еще с десяток похожих открытий, но упомяну лишь одно: отчего-то многие уверены, что детская литература — дело чрезвычайно простое и в нем, так же как в политике и сельском хозяйстве, любой может быть судьей и специалистом.\nОх, если бы это было так! Для меня, например, работающего профессионально в детской литературе больше сорока лет, она и сегодня остается страной загадок, некоей территорией, где многие законы заменены магическими действиями, а результат столь же необъясним, как необъяснимо любое (обыкновенное?) чудо.\nНачать хотя бы с самого термина. Что такое детская литература: то, что пишут дети? Может быть, и так, а может, и нет. Тогда, возможно, — то, что сочиняют взрослые про детей? Или то, что написано только для детского чтения? Тоже, пожалуй, и да, и нет. Можно напечатать тысячу страниц с очень правильными мыслями, чрезвычайно полезными для ребенка, но по причине их унылости они никогда не станут детской литературой. Вероятно, в настоящей литературе для детей — как и в настоящем искусстве как таковом — прежде всего должно биться живое чувство: радость, печаль, сострадание, удивление, веселье... А если чувства нет, то благие старания сочинителя напрасны. Но в литературе для детей кроме перечисленных элементов, которые, в принципе, необходимы любому художественному тексту, нужно еще одно таинственное качество — детскость. Тут как раз и начинается зона магии, потому что этот элемент невозможно формализовать. Такие понятия, как наивность, игра, непосредственность восприятия, — стоят где-то рядом. И все же это не совсем то. Какими математическими формулами, например, опишешь “усладу души”? А она, эта самая услада, обязательно должна жить в литературе для детей.\nЕсть счастливые детские писатели, которых ощущение детскости не покидает почти никогда. Например, в наше время им обладает Эдуард Успенский. А есть талантливые литераторы, у которых оно иногда уходит, и тогда даже у них пишется неживая строка.\nВчера\nУдивительно, но в некоторые эпохи в писаниях, предназначенных вроде бы для детей, этого ощущения детскости не существовало вовсе. Такое случилось в русской и европейской истории во времена Средневековья. Причем если на мусульманском Востоке воспитанию и взрослению детской души были посвящены целые трактаты, как, например, главы в великой книге ХI века “Кабус-намэ”, то в Европе ребенка рассматривали как недозревшего уродца, неполноценного взрослого, и основной задачей считали как можно быстрее его овзрослить. А про то, что существует особый, таинственный мир детской души с его глубинами трагедий, радостей и откровений, которые позже повзрослевшим людям кажутся сущими пустяками, не задумывался никто. В России, к примеру, на протяжении нескольких веков не было даже букваря, и единственной книгой, по которой учили читать, оказывалась Псалтирь. Литература тогда еще не разделилась на взрослую и детскую, и едва дитя совершало первые шаги и произносило первые слова, как в круг его жизни пытались втолкнуть взрослые интересы. По мнению тогдашних “просветителей”, именно для этого и существовала книга. О том же, что литература может заниматься чем-то другим, никто не задумывался. А если и догадывались, то еще не умели эти переживания описать. Книга служила лишь для поучения и назидания.\nЧестно говоря, сегодня мне трудно представить, чтобы только что выпоротый ребенок с упоением читал вирши знаменитого поэта Симеона Полоцкого, воспевающего розгу:\nПлевелы от пшеницы жезл тверд отбивает,\nРозга буйство из сердец детских прогоняет...\nРозга ум острит, память возбуждает\nИ волю злую в благу прелагает...\nПо замыслу же автора, эти зарифмованные назидания адресовались и взрослым, и детям.\nНо вот высокообразованному человеку, побывавшему послом во многих европейских странах, Дмитрию Герасимову, однажды, приблизительно в 1490 году, пришла в голову мысль потрудиться именно для детей. Он назвал свой рукописный труд латинским словом “Донатус” и поместил туда не только собственные нравоучительные рассказы, но даже несколько народных сказок.\nГрустно, но далеко не каждый не только читатель детских книг, но и их автор хотя бы слышал имена основоположников в своем деле. А такие когда-то существовали, они были отважными людьми и наверняка понимали, что работа их — созидание нового, не существовавшего прежде мира детского чтения. Это — первый детский поэт на Руси, справщик печатного двора (можно сказать — главный редактор) Савватий. Человек большой образованности, он жил в первой половине XVII века, сочинил множество стихотворных посланий к известным историческим деятелям, а заодно писал и стихи, адресованные именно детям. Их напечатал издатель одного из первых детских букварей Василий Федорович Бурцев (его когда-то называли Бурцов-Протопопов). Но, пожалуй, настоящим первым детским писателем в русской истории было бы точнее считать Кариона Истомина. Он жил во второй половине XVII столетия и первым из русских литераторов осознал особость детской души. Его детские стихи и проза — это не унылые нравоучения, не уговоры полюбить розгу как главное средство воспитания; в них есть то, что активно проявилось в детской поэзии лишь спустя два века — игра, юмор, ирония, стремление к усладе читательской души. Савватий и Карион Истомин — это два отправных пункта, откуда двинулась в большое плавание письменная русская литература для детей. Жаль, что сегодня их сочинениям необходим переводчик, ибо они были лицами духовными (Карион Истомин даже состоял в сане игумена) и писали на языке, слишком для нас архаичном. И все же они показали немногочисленному в ту пору грамотному люду, что есть разница между детским восприятием печатного слова и взрослым и что детская книга принципиально отличается от всех остальных книг.\nИх эстафету подхватили во второй половине следующего, XVIII, века. Именно тогда европейская нация наконец-то открыла, что душа ребенка — мир совершенно другой, полный тайн, радостей, тревог и трагедий, что детство - это особый период в жизни человека. И от того, как человек проживет эти годы, зависит его дальнейшая судьба. В XVIII столетии зародилась даже некоторая мода на детство. В дворянских домах появились детские комнаты. Знаменитый агроном, а в прошлом - блестящий офицер Андрей Болотов, написал и поставил первые пьесы для детей, сама матушка-императрица Екатерина Великая сочинила первые в России литературные сказки: “О царевиче Хлоре” и “О царевиче Фивее”. Как уж тут было великому издателю Н. Новикову, а также его молодому сотруднику и автору Н. Карамзину не открыть первый в России журнал “Детское чтение для сердца и разума”? Так в круге литературного чтения было покончено со смешением детского и взрослого мира.\nХIХ век подарил литературе для детей почти все, что мы имеем и любим сегодня. Жуковский, Пушкин, Погорельский, Аксаков создали изумительные сказки, с которых и нынче начинается осознанное детское чтение. Ишимова издавала серию журналов специально для девочек. В детской литературе появились великие завоевания: наука сострадания, ощущения сладкой печали и счастливой радости. Вирши, которые убеждали ребенка ради собственной пользы возлюбить розгу, стали в эту эпоху невозможными. Теперь каждая строка была пронизана любовью, почитанием и уважением детства. Даже когда это были шутливые стихи, написанные в альбом семилетнему мальчику, как это сделал А. Пушкин в доме своего друга:\nДуша моя Павел,\nДержись моих правил:\nЛюби то-то, то-то,\nНе делай того-то,\nКажись, это ясно.\nПрощай, мой прекрасный.\n(“Кн. П. П. Вяземскому”)\nВо второй половине ХIХ века в детской литературе — точно так же, как и в далекой от нее физике — казалось, что все уже открыто, все сделано и остается только продолжать достигнутое. Сочинил Жуковский для внучки Сашеньки и внука Пашеньки гениальные строчки: “Там котик усатый по садику бродит, а козлик рогатый за котиком ходит...” — значит, можно теперь на все лады описывать других “котиков” и “козликов”, а также - губки, щечки, глазки, ручки и ножки. Уменьшительно-ласкательные словечки, казалось, навсегда завоевали круг детской поэзии. Но неожиданно в мир человеческий вторглась, кто бы мог подумать, — та самая физика! С ее новыми немыслимыми открытиями. И мир на глазах одного поколения приобрел совершенно новые очертания, новые скорости, новые ритмы.\nИ удивительное дело: если каких-то сто лет назад, когда круг детства сумел отгородиться от взрослого, и это можно было считать достижением, то теперь возникла противоположная необходимость — снова соединить эти два круга. Оказалось, что двух основных задач, которые исполняла детская литература в XIX веке — услада души и воспитание нравственного чувства, — недостаточно.\nИзвестно, что дети всегда играют в то, чем заняты взрослые, а взрослые в своих якобы серьезных занятиях продолжают — правда, уже на другом уровне — детские свои забавы. Было понято также, что когда взрослое вытесняет из детской книги детскость — книга перестает быть книгой для детей. И вдруг, пожалуй впервые, обнаружилось новое: если современный взрослый мир в детской книге отсутствует вовсе, то такая литература теряет “первую свежесть”. Еще бы: уже были построены железные дороги и поплыли пароходы, улицы освещались электричеством, а Уточкин устраивал демонстрационные полеты на аэроплане, перелетая из города в город. В новом пространстве и времени жизнь развивалась по новым ритмам, а детская поэзия оставалась крохотной лужайкой, по которой по-прежнему скакали зайчики и бегали котики. Поэтому то, что сделали К. Чуковский и С. Маршак в детской поэзии, было очередным громадным прорывом. Благодаря их стихам в поэзию для детей ворвалась Вселенная. Потом, спустя годы, этот прорыв привязали к достижениям октябрьской революции. Но только октябрьский переворот был здесь ни при чем, ибо “Крокодил” Чуковского создавался за несколько лет до этого эпохального события.\n1917 год еще дальше качнул маятник детской литературы в сторону взрослости и довел его до предельной точки. В пространство детского мира снова вторглись взрослые интересы и заняли его полностью. Это выглядело так, как если бы в уютную детскую комнату въехал, давя гусеницами старые привычные игрушки, танк — и, поворачивая башню, стал бы направлять ствол во все стороны. Литература для детей занялась не свойственной для нее прежде деятельностью - она сделалась отраслью государственной пропаганды, способствовала огосударствлению детства. По замыслу созидателей “светлого будущего”, первым делом надо было взяться за воспитание человека нового типа, главной ценностью которого были бы государственные интересы, а все личное, в том числе и тайная жизнь души, объявлялось делом второстепенным и даже враждебным. Обезличенный с раннего детства, человек становился взаимозаменяемой деталькой громадной государственной машины. Были годы, когда из детских книг начисто исчезли такие понятия, как нежность, материнская любовь, и могло уже показаться, что детей рожают не матери, а суровые комиссары в кожаных куртках. В литературу в какой-то степени вернулось средневековое смешение взрослой и детской жизни. Благодаря энтузиазму Н. Крупской в книге для детей запрещались сказки — как произведения, отвлекающие ребенка от строительства нового общества, пропагандирующие монархические идеи и антропоморфизм. Правда, Надежда Константиновна все же сделала послабление сказочникам: она разрешила им писать сказки, но про стахановцев и ударников труда. В те же годы несчастного Маршака заставляли отчитываться перед съездом писателей, почему ему до сих пор не удалось до конца “убить Чарскую”...\nИ все же, несмотря на это странное время, невзрослому человеку, воспринявшему достижения ХIХ века, по-прежнему хотелось читать про себя. И новая книга, обходя запреты, слегка обманывая власти, старалась эти читательские желания исполнить. Любимыми книгами целых поколений становились те, в которых задушевного слова было чуть больше, чем государственного слова и дела. Их читают и сегодня: это те же “Чук и Гек” и “Голубая чашка” А. Гайдара, “Дикая собака Динго” Р. Фраермана, “Рассказы о Белочке и Тамарочке” Л. Пантелеева, “Четвертая высота” Е. Ильиной, рассказы и повести Н. Носова, сказки В. Бианки.\nКаждая такая книга была событием среди безбрежного океана заказной литературы. Так в более близкие десятилетия событиями становились, например, книги Э. Успенского, Р. Погодина, Н. Сладкова, Ю. Коваля, С. Козлова, В. Железникова, С. Иванова. Однако каждому из них приходилось преодолевать выстроенные властями издательские плотины.\nНо вот в начале 90-х плотину прорвало. Пожалуй, первыми в потоке новой литературы стали великолепные “Вредные советы” Г. Остера. Он и отправил маятник в сторону, противоположную той, куда упорно в течение семи десятилетий раскачивали его прежние власти. Парадокс, игра словом, звуком, смыслом стали основным содержанием большинства детских книг. Маятнику бы приостановиться, выбрав таинственную точку в золотом сечении, соединяющем душу, разум и развлечение; но он все дальше отклонялся в сторону желания позабавить, тем более что этому начал способствовать рынок. Большинство издателей, как это ни удивительно, стали состязаться не за первое место, а за второе и третье. Стоило им обнаружить у кого-то удачу, как они немедленно начинали ее тиражировать. Еще и сегодня полки в книжных магазинах забиты одинаковыми сериями с похожими обложками и повторяющими друг друга текстами. Поэтому многие авторы, из самых успешных в коммерческом состязании, попросту занялись воспроизводством прошлых своих находок. Но находку, повторяемую от раза к разу, уже трудно назвать открытием...\nСегодня\nТак наступил новый перекос, который, пожалуй, ощущается и сегодня. Литература для детей в стремлении лишь позабавить ребенка лишилась главных своих достоинств: чувства сострадания, способности персонажей к глубоким душевным переживаниям и раздумьям. В массе своей она стала слишком поверхностной. А ведь среди тех, кто начал печататься в 90-е годы, было много одаренных людей! Но пока лишь немногим из них удалось соединить лучшие традиции прошлых времен со своими находками. Их уже отодвигают самые яркие из “новых молодых”: А. Гиваргизов, С. Востоков, Т. Михеева, Г. Дядина, Н. Волкова, Н. Дубина, Е. Ракитина, А. Сидорова. Каждый из этих авторов не похож на другого. Причем если Востоков живет в подмосковной деревне, то Михеева приезжает в Москву из Челябинска, а Дядина — из Арзамаса. Объединяет же их увлечение детской литературой. А главное, их стихи, их проза пронизаны самыми ценными достоинствами: они сочетают “задушевное слово” с остроумием и игрой. Новым молодым повезло больше хотя бы в том, что им не пришлось преодолевать ни заборы цензурных запретов семи десятилетий, ни барахтаться, с трудом удерживаясь на поверхности, среди полного общественного равнодушия к развитию детской литературы, как это было в начале 90-х. Причины внезапного этого равнодушия вполне просты — мгновенно обнищавшим жителям страны в “лихие 90-е” было не до детских книг. Нынче же каждый из “новых молодых” успел поучаствовать в нескольких фестивалях, в Форумах молодых писателей России. А для любого творческого человека чрезвычайно важно ощутить к себе интерес, почувствовать свою нужность. От них и от тех одаренных молодых людей, которые входят в литературу для детей вместе с ними, зависит, какой она, эта литература, станет в будущем десятилетии.\nНо надо сказать, что в последнее десятилетие очень быстро вызрели и новые классики: М. Москвина и М. Бородицкая, М. Яснов и С. Махотин, А. Усачев и В. Лунин, Е. Мурашова и А. Шевченко, С. Георгиев... Ребенок в их книгах - не мальчик в коротких штанишках и не объект бездумных забав, а самоценная личность, которая, удивляясь, радуясь, а порой и глубоко страдая, открывает для себя и читателей новый, непохожий на прошлые эпохи современный мир.\nИ все же искусство - это не то явление, которое постоянно, “как ракета, летит по параболе”. В нем всегда чего-нибудь в избытке, а чего-то не хватает. У нас была и есть сегодня очень хорошая малышовая поэзия, но почти совсем нет стихов для десяти-четырнадцатилетних. Это удивительно, но, более сорока лет работая в литературе для детей, я слышу одни и те же упреки, обращенные к юным читателям: “Что за дети у нас такие несуразные — до десяти лет стихи читают, а после десяти — ни-ни!” Но ведь и читать-то почти нечего. Потому и “ни-ни”, что по пальцам можно пересчитать созданные в последние десятилетия стихи, которые бы взволновали растущую, думающую детскую душу. Да и в прошлые эпохи детские поэты в основном посвящали свой дар малышам. А ведь десяти-четырнадцатилетний возраст, пожалуй, самый тревожный в жизни человека. В нем более остро, чем когда-либо, ощущаются несправедливости мира и личное одиночество, когда человек уже вышел из детства, но еще не принят во взрослое население.\nК сожалению, стоит признать, что это вообще слабое место в русской поэзии: для подростков создано удивительно мало, и к тому же созданное чаще очень уж поверхностно. Редки у нас и сюжетные стихи, баллады. Уверен, что когда в России появится талантливый человек, умеющий выразить переживания и думы этого трудного возраста, его будут ждать признание и любовь многих поколений читателей.\nИспытываем мы голод и на то, что прежде называлось школьной повестью. Когда-то Н. Носов придумал точное название: “Витя Малеев в школе и дома”. Сегодняшний юный читатель на протяжении значительной части жизни, которую он прожил, совмещает, как и Витя Малеев, две реальности: семейную и школьную. Но отчего-то большинство авторов запускает нынешних персонажей в придуманные миры, которые часто являются калькой с европейских и американских книг: то в заоблачные дали фэнтези, то в коммерческие серии, одно название которых уже говорит само за себя: “для крутых девчонок”, “про вампиров”... Однако в реальном мире живут не супердевочки и волшебники, а обыкновенные Настя, Витя и Маша. И они очень хотят увидеть в книгах себя, свою повседневную жизнь с ее трудными вопросами, узнать, как герои на эти вопросы отвечают. Нет, я вовсе не против супердевочек, страшилок, вампирских книг и прочего чтива. Оно тоже имеет право быть, но вряд ли должно становиться на книжном рынке преобладающим.\nМало у нас сегодня и “умных” детских книг. Если в ХХ веке в России рождалась прекрасная познавательная литература, которую создавали великие мастера — от Н. Перельмана до В. Бианки, Н. Сладкова, Св. Сахарнова и Вл. Карцева, — то и здесь на сегодняшний книжный рынок поставляются чаще кальки с европейских и американских энциклопедий не первой свежести. В середине 90-х, только появившись в России, они сделали хорошее дело: показали, как можно иллюстрировать детскую книгу знаний; хотя в самом начале 70-х и это уже сделал Св. Сахарнов своей “Морской энциклопедией”. Не зря она тогда, сразу получив премию в Болонье, стала одной из основоположниц подобных изданий. В той старой познавательной российской книге юный читатель вместе с автором и ее героями Фарадеем, Максвеллом, Менделеевым увлеченно гнался за научной гипотезой, страдал от отчаяния, преодолевал заблуждения и, наконец, испытывал мгновения счастья от овладения истиной. Благодаря таким книгам вырастали не только большие ученые, но и тысячи людей, увлеченных познанием, без которых невозможна интеллектуальная жизнь страны.\nА завтра?\nГде-то я об этом уже писал. Легко представить себя стоящим, раскинув руки, на холме. И за одну руку вас держат родители, их — ваши бабушки и дедушки, прабабушки и прадедушки. За ними тянется бесконечная цепь людей, уходящих в туманные дали прошлых времен. А за другую — ваши дети, внуки и правнуки — такая же длинная людская цепь с юными незнакомыми лицами, уходящими в непознанное и загадочное будущее. И те, что из прошлого, глядят на вас, стоящего, с надеждой: смотри, не подведи, передай все, что мы сделали, в будущие времена. И с такой же надеждой смотрят люди из будущего — мы ждем, не подведи, передай нам все доброе, сделанное в прошлом, и то, что добавил к нему ты сам!\nПриблизительно так я представляю каждого из нас, пишущего для детей. А ту литературу, которую мы выращиваем, вижу большим деревом. И чем больше на этом дереве разнообразных ветвей, тем оно здоровей и прекрасней. Главное, чтобы одни ветви не забивали другие, чтобы не превратилось это чудесное дерево в единственный кривой уродливый сук. Именно поэтому я бы не осмелился призывать к немедленному исправлению недочетов — ускоренному заполнению пустующих мест и поспешному обрезанию того, чего, по моему мнению, сегодня выросло слишком много. Опасное это дело: так можно дерево и вовсе лишить живой поросли, превратив его в гладкий столб. К счастью, времена обрубания литературных ветвей, надеюсь, миновали навсегда.\nЕсли мы оглянемся назад, в прошлые века, то обнаружим, что наша детская литература довольно молода — ей не так уж много столетий: чуть больше двух. И каждая эпоха, развивая достижения старших, добавляет свое, новое. Вот и сегодня где-то в наших городах и весях подрастают уже другие, совсем юные прозаики и поэты, одаренные талантом писать для детей увлекательно, весело и одновременно мудро. Только бы их не пропустить, разглядеть их лица, встретиться с ними! А что они нам расскажут в своих стихах и прозе — это пока тайна. Потому что и сама литература для детей, как я уже говорил, сродни магии.\nг. Санкт-Петербург\nВалерий Воскобойников\n<a href=\"http://magazines.russ.ru/voplit/2012/5/v7.html\" title=\"http://magazines.russ.ru/voplit/2012/5/v7.html\">http://magazines.russ.ru/voplit/2012/5/v7.html</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:c795d82b068a3ccc0bfbde340a96b0f4' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Новорожденным обычно все равно, что им читают и поют. Многие с удовольствием засыпают под Бетховена, а едят под Блейка (или наоборот). Но большинство подросших младенцев уползают от матери, которая пытается читать вслух «Илиаду» — даже в переводе на русский. Кроме того, считается, что детям для развития речи полезно читать именно детские стихи — там, мол, правильные ритмы, сюжеты и запас слов. А еще — показывать картинки. Много картинок.\n<div class=\"vrez\">Про картинки мы подробно поговорим в следующий раз, а пока — о том, как, развивая детскую речь, сохранить свою (мы знакомы с пятилетней девочкой, которая узнала бы тут цитату. Зато она не знает, кто такие «Смешарики»).</div>\nДопустим, мама-филолог и папа-физик познакомились в гостях, потом долго гуляли по городу, подхватывая друг за другом стихотворные строки. Родив ребенка, они, конечно, планируют читать ему книжки. Ребенок не возражает, даже наоборот. Но скоро начинают роптать родители.\n«Мыши водят хоровод! На лужайке дремлет кот», — выводит молодая мать полезную для детской речи потешку и, уложив ребенка, еще долго не может избавиться от ее ритма. «Ничего, — утешает молодой отец, — скоро уже можно будет читать настоящие стихи».\n«Зайку бросила хозяйка. Под дождем остался зайка». Молодой отец в шестой раз за день читает эти настоящие стихи и понимает, что все остальные цитаты из его головы давно испарились.\n<div class=\"vrez\">Если вам так и не удалось полюбить Агнию Барто, если надоели Чуковский и Маршак, если хочется почувствовать, что ваша жизнь хотя бы вчем-тоне изменилась, можно попробовать читать ребенку детские книги «взрослых» поэтов.</div>\n<img src=\"http://i.family.booknik.ru/_img/252-909.jpg\" alt=\"\" width=\"200\" height=\"160\" border=\"0\" /> Во-первых, конечно, Хармс. Детей он якобы терпеть не мог и даже призывал бросать их в яму. Тем не менее, увлеченно работал в детской периодике. Изданий Хармса много, и различают их по художникам, потому что стихи повторяются более или менее одни и те же. Некоторые произведения, скажем так, довольно странные, но большинство — вполне подходят для маленьких детей. Удивительно, но «заумный» Хармс зачастую писал более детские стихи, чем многие признанные советские детские классики. У них — игра слов и ироническое подмигивание взрослым, а у Хармса — простые действия и многочисленные повторы.\nУж я бегал, бегал, бегал и устал. Сел на тумбочку, а бегать перестал. …. Надоело мне сидеть, захотелось полететь, разбежаться, размахаться и как птица полететь.\nИ полуторогодовалому понятно.\n<div class=\"vrez\"><img src=\"http://i.family.booknik.ru/_img/252-908.jpg\" alt=\"\" width=\"200\" height=\"209\" border=\"0\" /> Другой обериут — Введенский. «Детгиз» выпустил эстетское издание, куда вошли почти все его детские стихи. Есть и проза — \"Повесть о девочке Маше\". Но чтобы порадовать не только себя, но и ребенка, лучше начать с книги \"Щенок и котёнок\". Простые слова и реалистичные иллюстрации, в которых автор послесловия видит и второй, «взрослый», пласт. В стихотворении нет ни кочерги, ни ваксы, ни чернил — все реалии понятны любому хоть раз выезжавшему за город малышу.Кому-томожет не понравиться тема охоты, но ей посвящена всего одна страница.\nХодят гулять по траве, по дорожкам Щенок и котенок в поля и леса. Среди земляники, черники, морошки Однажды в лесу они встретили пса.\n</div>\nДетские стихи писал, оказывается, и Осип Мандельштам. В этом году вышли две книги, и обе про трамваи: «Сонные трамваи» в издательстве «Вита Нова» и \"Два трамвая\" в «ОГИ». «Два трамвая» — тоже издание для эстетов. В него вошли стихотворения, написанные в 1925–1926 годы. Контрастные ретроиллюстрации КристиныЗейтунян-Белоус воссоздают стиль эпохи. А лексика — реалии эпохи (полотеры, примус и т.п.). Это уже не для полуторагодовалых малышей: объяснять придется многое.\nОднажды утром сел в трамвай Первоступенник-мальчик. Он хорошо умел считать До десяти и дальше.\nИ вынул настоящий Он гривенник блестящий.\n«Сонные трамваи» — полное издание детских стихов Мандельштама с очень красивыми иллюстрациями Веры Павловой, которые наверняка понравятся и детям, и взрослым. Иллюстрации стилизованы под20-егоды, но это не плакат, а сказка: яркие трамваи и утюги не менее живые, чем люди и кони.\nУ каждого трамвая Две пары глаз-огней И впереди площадка, Нельзя стоять на ней. Он завтракает вилкой На улицах больших. Закусывает искрой Из проволок прямых. Я сонный, красноглазый, Как кролик молодой, Я спать хочу, вожатый: Веди меня домой.\nПонравится ребенку или нет, заранее неизвестно, но такие книги приятно держать в руках; приятно также говорить «Вчера я читала Пете на ночь Мандельштама» — если, конечно, вы сами любите этого поэта.\n<div class=\"vrez\"><img src=\"http://i.family.booknik.ru/_img/252-911.jpg\" alt=\"\" width=\"225\" height=\"300\" border=\"0\" /> Существует много изданий детских стихов Маяковского. И иллюстраторов немало. У Надежды Богуславской — приглушенные цвета и мягкие тона; у Натальи Салиенко — плакатная контрастность. А еще, конечно, Ювеналий Коровин. Возможно, именно книжки с его иллюстрациями вам читали в детстве родители. Стихи все тоже знакомые: «Что ни страница, — то слон, то львица», «Что такое хорошо и что такое плохо», «Кем быть», «Конь-огонь», «Мы вас ждем, товарищ птица». Не каждый родитель будет читать вслух «Возьмем винтовки новые/ на штык флажки!/ И с песнею в стрелковые/ Пойдем кружки». Но зато стихи Маяковского можно показать даже не читающему дошкольнику, и он увидит, что слова в них стоят не совсем так, как обычно, — лесенкой. Возможно, это будетчем-тоему полезно.\nТруд большой рабочему — Простоять всю ночь ему. Чтобы пламя не погасло, Подливает в лампу масло.\nКличет книжечка моя:  — Дети, будьте как маяк! Всем, кто ночью плыть не могут, освещай огнем дорогу. Чтоб сказать про это вам, этой книжечки слова и рисуночков наброски сделал дядя Маяковский.\n* * *\nЗверю холодно зимой. Зверик из Америки. Видел всех. Пора домой. До свиданья, зверики!\n</div>\n<img src=\"http://i.family.booknik.ru/_img/252-910.jpg\" alt=\"\" width=\"200\" height=\"206\" border=\"0\" /> <a href=\"http://www.kidreader.ru/review/606\">\"Баллада о маленьком буксире\"</a> Бродского издана в виде роскошного альбома с иллюстрациями Олейникова. Это расширенная и как бы детская версия четверостишия про смерть на Васильевском острове, где лирический герой — не поэт, а буксир. Он встречает большие заграничные корабли, а потом провожает их в далекие земли, куда сам никогда не попадет. Кажется, что маленькому ребенку в этой книге не будет понятно ничего, кроме слова «корабль», но, как ни странно, многие слушают завороженно, а научившись разговаривать, цитируют наизусть. Возможно, детей зачаровывают иллюстрации большого размера. Проснуться от того, что тебе в глаз тычут книгой Бродского и требуют немедленно читать и смотреть, — это ли не мечтародителя-филолога?..\nЯ — буксир. Я работаю в этом порту. Я работаю здесь. Это мне по нутру. Подо мною вода. Надо мной небеса. Между ними буксирных дымков полоса. Между ними буксирных гудков голоса.\nЕсть еще одна книжка «детского Бродского» — \"Слон и Маруська\". Там и стихи (включая тот же «Буксир»), и проза — для детей постарше. Но местами кажется, что автор слишком старается быть детским, — да простят меня питерские небеса за эту хулу.\n<div class=\"vrez\">Не очень понятно, для кого пишет Рената Муха. Вроде бы для взрослых:\nКак-то раз в одной стране Все решили больше не.\nА вроде бы и для детей.\nНа ее стихи даже есть много детских песенок:\nБелая лошадь с белым хвостом И черная лошадь с черным хвостом Вдвоем по поляне гуляли в тумане И свежее сено нашли под кустом.\nТак или иначе, дети с удовольствием слушают стихи Ренаты Мухи. Может быть потому, что чувствуют: родителям весело их читать.\n</div>\nНу а как же Пушкин?! Пушкин форева. Приготовьтесь объяснять, что такое «Лукоморье», «рать», «скопец» и т.п. — и вперед. Правда, хорошее издание придется ловить, как золотую рыбку, в море аляповатых книжек. К счастью, некоторое время назад переиздали сказки с иллюстрациями Конашевича.\nАся Вайсман, <a href=\"http://family.booknik.ru/reviews/?id=37889\" target=\"_blank\">Букник_младший</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:8a1e6d6919eacf8cd5e80044afd64701' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'На самом деле магазину «Подписные издания» уже 86 лет. Просто один из старейших книжных города решил обновить свой интерьер. И очень кстати. Ведь светлых и по-настоящему гостеприимных мест, где можно полистать отличные книги, в Петербурге немного. Стиль, над созданием которого трудились Кира Гришина и Константин Николаев, отличается простой и функциональностью. Все очень компактно и экологично. Директор магазина Михаил Иванов уверен, что «сегодня покупатель за свои деньги должен получить максимум услуг». Проверим покупательские сервисы.\nКнижные стеллажи\nЗдесь есть книги по искусству, истории, современная проза, классика, книги на иностранных языках (и новая книга Джоан Роулинг тоже). В глубине зала — полки с детскими книгами. Перед ними можно стоять часами. Есть подарочные «Принцессы», книги с чудесными иллюстрациями Р. Ингпена, недорогие, хорошо иллюстрированные издания российских авторов. Нижние полки занимают самые модные на сегодняшний день книжки со звуковыми модулями.\n<img src=\"/sites/default/files/pictures/stell.jpg\" width=\"500\" height=\"334\" />\nВ детском отделе есть не только художественная литература. Азбуки и буквари — заметная часть детского ассортимента. Развивающие брошюры и книги для детского творчества гарантированно привлекут внимание тех родителей, которые привыкли вкладываться в образование и развитие своего ребенка.\nЧитальный зал\nНаходится на втором этаже. Сидя на высоком красном стуле, можно наблюдать за тем, что происходит в зале. У каждого столика есть своя лампа!\nДетская зона\nМаленький уголок рядом с детским стендом. Здесь можно рисовать и раскрашивать.\nВкусное\nЗа эту опцию отвечает кондитерская «Волконский». Кофе не самый дешевый, но вкусный. Печенье отличное.\n<img src=\"/sites/default/files/pictures/vitrina.jpg\" width=\"500\" height=\"334\" />\nИнтересные штуки \nСамое интересное — блокноты, ручки и тетрадки разных невиданных марок. Это канцелярия из Америки, Японии, Кореи. Независимые российские бренды тоже есть. Имеются винтажные постеры. Особая гордость канцелярского отдела — грифельные штучки — не оставят равнодушными тех покупателей, которым известно, что счастливыми нас делает только избыточное. Это забавные таблички на прищепках, капкейки и даже новогодние наборы. Есть наборы с круглыми шариками, с фигурными игрушками, с елочкой, с пряничными человечками.\n <img src=\"/sites/default/files/pictures/people.jpg\" width=\"500\" height=\"500\" />\nКнига на заказ, подписка\nИнтересующее вас издание, которого нет в наличии, можно заказать, оставив номер телефона. Можно оформить подписку на энциклопедии (например, «Детскую энциклопедию» издательства «Терра»), собрания сочинений классиков.\nУпаковка\nБесплатно в бумагу авторской работы. Можно купить бумажный пакет.\n <img src=\"/sites/default/files/pictures/upak.jpg\" width=\"500\" height=\"334\" />\nПриятное\nСкидочные карты (с портретами гениев, между прочим), подарочные сертификаты, бесплатные карандаши/ручки в честь открытия.\nКстати, родители! Как объяснил нам Михаил, в магазине детям не запрещают трогать и рассматривать книги. В дни школьных каникул рядом с детской зоной обычно делается специальная выкладка. Среди этих книг всегда можно найти книги по истории Санкт-Петербурга.\nMiss Pocahontas, специально для <a href=\"http://www.kidreader.ru\">Kidreader.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:bf8c92ec70a4512cca2bfc6b009dc10b' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'И правда, в последнее время то и дело натыкаешься на панические заголовки, констатирующие крах и смерть детско-подростковой литературы. Особенно в этом преуспело РИА «Новости». Сначала оказывается, что <a href=\"http://www.ria.ru/analytics/20120402/614490402.html\">в России писать книги для детей «не круто»</a> (и Анна Насинова это может подтвердить). Потом уже и <a href=\"http://www.ria.ru/analytics/20120402/614490402.html\">издатели боятся выпускать подростковую литературу</a>. Наконец, Борис Кузнецов («Росмэн») уже на «РБК daily» риторически вопрошает, <a href=\"http://www.rbcdaily.ru/2012/04/13/lifestyle/562949983550056\">почему у нас мало детских писателей</a>. (Правда, затем Борис объяснил, что провокационный заголовок — заслуга редактора, но суть статьи от этого не меняется).\nПри этом эксперты (и те, кто себя таковыми считает) ссылаются в основном на личные ощущения. Исключение — глава «Росмэна», опирающийся на некие свои внутренние источники. Впрочем, они настолько внутренние, что объективному анализу не поддаются.\nПопробуем спокойно, без встречных экспертных мнений разобраться в ситуации. Поищем циферки, доступные каждому.\n<h2>Авторы, которых «нет»</h2>\nМода на цитирование фразы Сергея Михалкова о смерти детской литературы вызывает некоторую оторопь. Хотя бы потому, что именно Михалковская премия собирает все больше претендентов. В нынешнем году из-за наплыва желающих пришлось даже <a href=\"http://www.svmihalkov.ru/news/ID_41.html\">задержать объявление итогов на три месяца</a>. Впрочем, о премиях мы еще поговорим, давайте пока о людях.\nЛучше всего на стон об отсутствии современных детских и подростковых авторов ответила Евгения Пастернак, которая в своем блоге с лету привела список <a href=\"http://pasternak-jane.livejournal.com/174502.html\">из 41 фамилии</a> — и это только лично знакомые! Причем список неполный. Например, там нет Дины Сабитовой, Аромштам и Мурашовой (которые уже ближе к классикам), нет (по причине исключительно склероза) Эдуарда Веркина и Наиля Измайлова, нет нескольких интересных авторов, с которыми надеемся познакомиться на церемонии награждения Михалковки. Ну и нас, скромных, не упомянуто. Налицо — полсотни писателей, о которых детская и подростковая литература еще десять лет или ничего не знала, или только начинала догадываться. Сегодня все они (мы) есть. И именно это поколение начинает определять современную русскоязычную «детскую» словесность.\n(Кстати, из разговора с теми же финнами я вынес убеждение, что и за бугром та же тенденция — взрывообразное явление молодых в детской литературе; впрочем, тут циферки найти не так просто, так что считайте реплику оффтопом).\nА вот теперь — о премиях.\nВо-первых, нужно сказать огромное благодарствуйте всем организаторам детских и подростковых премий. Ведь заметная часть вышеперечисленных авторов стала на крыло именно благодаря «Заветной мечте», «Книгуру», премий имени Михалкова и Крапивина и так далее. Кстати, журналисты! Если вам хочется узнать имена современных авторов, загляните хотя бы шорт-листы упомянутых премий. Они постоянно обновляются. Под давлением начинающих перестали самономинироваться и Востоков, и Гиваргизов, и Сабитова. Но это не значит, что мы не увидим их в списках лауреатов.\nПотому что, во-вторых, нынешние «детские» писатели все увереннее чувствуют себя и во «взрослых» премиях. Например, финалист «Книгуры» Наиль Измайлов со своим «Убыром» попал и в <a href=\"http://www.natsbest.ru/N2.htm\">лонг-лист «Нацбеста»</a>, и в <a href=\"http://www.bigbook.ru/news/detail.php?ID=13441\">длинный список «Большой книги»</a>, а Дарья Вильке заняла <a href=\"http://www.gazeta.ru/culture/news/2012/04/25/n_2312229.shtml\">второе место в «Русской премии»</a> (правда, с совсем не детской книгой, но автор тот же!).\nТо есть авторы как раз есть — и численно, и качественно. То, что журналисты и «эксперты» их не замечают — это, как говорила одна моя знакомая художница, «к окулисту».\n<h2>Издатели, которые «боятся»</h2>\nТезис о том, что якобы российские издатели «перестали» издавать детские книги, тоже кажется не совсем состоятельным.\nНапример, за минувшее десятилетие появилось сразу несколько ярких издательств, специализирующихся на книгах для подростков: «Самокат», «Розовый жираф», «Нарния» (с оговорками). И если тот же «Самокат» сначала специализировался на переводах, то сегодня ситуация меняется. Вот циферки, которые я взял, проанализировав <a href=\"http://www.samokatbook.ru/ru/book/list/\">каталог издательства</a> и воспользовавшись сервисом <a href=\"http://www.findbook.ru/search/d1?publisher=%F1%E0%EC%EE%EA%E0%F2&r=0&s=1&viewsize=15&startidx=0\">Findbook</a>. Если в 2003 году издано всего семь книг, и почти все это был исключительно Пеннак, то в 2011 году количество переводных и «родных» авторов почти сравнялось, а в 2012 году оригинальные писатели пока обгоняют зарубежных. Подробнее см. на рис. 1.\n<img src=\"http://www.pro-books.ru/sites/default/files/zh1.jpg\" width=\"500\" height=\"263\" /> \nРис. 1. Соотношение переводных и русскоязычных книг в портфеле издательства «Самокат»\nПоказателен не только рост доли русскоязычных авторов, но и общее увеличение ассортимента. Ну никак это не похоже на падение и издательский страх.\nОстальных издателей анализировать не стал — уж очень много времени это отнимает, а обращаться в сами издательства не хочу принципиально, ведь циферки должны браться из общедоступных источников, правильно?\nКроме специализированных «детских» издательств, все больше интереса к непрофильной литературе и у их «взрослых» собратьев. Например, мое родное издательство «Время» десять лет назад имело в портфеле только Баума, Постникова и Жвалевского/Мытько, а сегодня — и тебе Гиваргизов, и Востоков, и Чудакова, и Юнна Мориц, и Костя Арбенин, и Андрей Усачев, и Жвалевский/Пастернак.\nМне могут возразить, что отдельные мелкие издательства погоды не делают.\nЛадно, обратимся к большой статистике. Если верить <a href=\"http://www.bookchamber.ru/content/stat/statinfo.html\">Российской книжной палате</a>, с 2008 года детлит практически не меняется в процентном отношении: 8–9% от общего количества наименований и примерно 20% по тиражам. А вот внутри самой детской литературы происходят очень показательные изменения — доля художественных книг все время растет (см. рис. 2 и 3).\n<img src=\"http://www.pro-books.ru/sites/default/files/zh2.jpg\" width=\"450\" height=\"261\" /> \nРис. 2. Изменение доли художественной и нехудожественной литературы в российском детлите (по наименованиям)\n<img src=\"http://www.pro-books.ru/sites/default/files/zh3.jpg\" width=\"450\" height=\"255\" /> \nРис. 3. Изменение доли художественной и нехудожественной литературы в российском детлите (по тиражам)\nПримечательно, что за годы кризиса (с 2009 по 2011) доля «художки» выросла с 50 до 67% по наименованиям и 39 до 58% по тиражам. То есть подтверждается субъективное ощущение того, что эра многочисленных «энциклопедий» завершается, и родители все чаще покупают детям что-то «почитать».\nЗа счет чего произошел этот рост? Борис Кузнецов уверен, что бал правят исключительно классики: Чуковский, Барто, Михалков, Маршак. И, если посмотреть статистику на том же сайте Книжной палаты, то на первый взгляд, директор «Росмэна» совершенно прав. Не буду загромождать текст таблицами, кому интересно, сами найдите в данных за 2008, 2009 и 2011 год табличку «Список наиболее издаваемых авторов по детской литературе». В топ-20 входят — не считая плодовитейшего автора современности Степанова В.А. — именно эти глыбы и матерые человечищи. Но чтобы их издание росло? Не уверен.\nРазве что у Чуковского в 2009 был явный всплеск (к юбилею, что ли, готовились?), у прочих столпов — стагнация.\nБарто: в 2008 году издано 109 книг тиражом чуть более полутора миллионов, в 2009 — 98 книг (миллион 200тыс), в 2011 — 97 книг (менее миллиона).\nМихалков: в 2008 — 58 книг (740 тыс.), в 2009 — не попал в топ, в 2011 — 31 книга (420 тыс.)\nМаршак: в 2008 — году 52 книги (570 тыс.), в 2009 — 68 книг (606 тыс.), в 2011 — 51 книга (376 тыс).\nЯ уж не говорю о Роулинг, которая еще в 2008 г еще шла на пятом месте (всего 10 книг, зато тиражом почти миллион), в 2009 ее уже в двадцатке не было, в 2011 вернулась, но всего на 16-м месте (7 книг, 340 тыс. тиража)\nЗато, например, Усачев заметно поднялся в этом рейтинге: 2008 г — 25 книг тиражом 411 тыс, в 2009 — 34 книг и 360 тыс. тиража, а в 2011 — уже 71 книга и тираж 649 тыс. (чуть не вдвое больше). Он, конечно, далеко не начинающий автор, но все же посовременнее Маршака с Барто.\nВывод: дети читают все больше художественной литературы, причем классики постепенно теряют свои позиции. За счет чего? Ну не за счет Роулинг, это точно. И вампиромания очевидно пошла на убыль. Остается предположить, что рост чтения происходит как раз за счет новых отечественных авторов.\n<h2>И все-таки — экспертное мнение</h2>\nНу что, утомил циферками? Простите, но я их с детства люблю. Пепел красного диплома физфака, опять же, стучит в моем сердце.\nА теперь, хоть и обещал не прибегать к экспертным мнениям, все-таки не удержусь. Штука в том, что за последний год я не раз и не два слышал от самых разных издателей: «Все падает, только детская книга держится».\nДа чего далеко ходить — даже в <a href=\"http://www.ria.ru/culture/20120423/632846303.html\">последнем опусе</a> РИА «Новости» признают, что «в целом сегмент детской литературы чувствует себя не в пример лучше, чем весь остальной российский рынок художественных книг».\nНу, опусы опусами, а вот что говорит <a href=\"/sitearticles/8847\">Олег Новиков</a> (глава «ЭКСМО»): «Последние годы, несмотря на кризис, рынок именно детских книг демонстрировал определённый рост».\nА вот — целая <a href=\"/sitearticles/8686\">подборка мнений</a> под красноречивым заголовком «Детская литература может спасти российский книжный бизнес». И это мнения не самонадеянных журналисток, а специалистов. Высказались: глава Роспечати Сеславинский, основатель издательства «Розовый Жираф» Юлия Загачин, главный редактор издательского дома «Самокат» Ирина Балахонова…\nСловом, «наши» эксперты покруче будут. Конечно, наши они исключительно в кавычках. Скажем, Новиков, констатируя рост «детского» сегмента, настроен скептически: «Я думаю, что сейчас ситуация успокоится, а многие, кто достаточно опрометчиво бросился в издание детских книг, уйдут из сегмента».\nНо это всего лишь мнение, пусть очень уважаемого и компетентного, но отдельного человека. А факты — циферки — штука упрямая. Вот им верю.\nP.S. Кстати, вы заметили, что солидные люди, анализируя сложную ситуацию, употребляют выражения «я думаю», «мне кажется», «есть ощущение» — а самоуверенные дилетанты лихо навешивают ярлыки, подпирая их модальными «как известно», «очевидно» или, в крайнем случае «эксперты считают», «издатели честно признаются».\nЧто за эксперты и кто эти издатели, обычно остается тайной.\nАвтор статьи: <a href=\"http://az-book.info/\" target=\"_blank\">Андрей Жвалевский</a>, впервые материал был опубликован в журнале о детской литературе <a href=\"http://vpereplete.org/\" target=\"_blank\">«Переплет»</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:bc72fbc129b649c4ee7a1bf4deddf8a0' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Главное в книге  - любовь! На всех уровнях. Когда я был маленький, моя семья: мама, папа, старшая сестренка, кот Васька и я, мы все садились раз в неделю вокруг обеденного стола, доставали ту книжку, которую я приготовил, и по кругу вслух ее читали. Я начинал, я уже тогда умел немножко читать, поэтому первые два три предложения были мои, потом книгу брала мама (я не помню уж сейчас точный порядок), потом папа, потом сестренка, потом кот Васька. И все читали эту книжку по кругу. Потом помню, что дожили уже до такого состояния, что стали про эти книжки разговаривать, не просто читать, а обсуждать. К сожалению, этот период был не долгий, по разным семейным обстоятельствам, но все-таки это было. Поэтому мой главный рецепт остается таким же, если есть возможность - садитесь вместе, всей семьей, хотя бы на полчаса, раз в неделю и читайте ту книжку, которую выбрал ребенок, показывайте, что все заинтересованы в этом. Это очень важно.\nЕсть еще и другие приемы для совсем маленьких. Я призываю всех родителей, вот родился ребеночек, и ползает он в детской по ковру, так пусть рядом с этим ковром стоит полочка с книгами корешками наружу, чтобы этот маленький ребеночек водил своим пальчиком не только по игрушкам, но и по книжным корешкам. Пуская пальчики запоминают, чувственно запоминают, тактильно запоминают, что такое книжный корешок и что с ним дальше можно что-то делать.\nЕсли же ребеночку уже лет 13, его будет трудно приучать, но я бы советовал родителям ходить в книжный магазин, брать ребенка с собой и покупать книги себе. Не ему, а себе. Пускай он видит, что вы покупаете книги, тогда в какой-то момент, он, кинув взгляд на одну из полок, скажет: «Купите мне тоже». Тут важно, чтобы он знал, что для Вас книжная покупка чрезвычайно важна, важнее, чем сходить в кино, важнее, чем сходить в магазин купить еду. Если Вы действительно хотите приучить своего ребенка к чтению, то приучайтесь и сами. Учитесь читать, выбирайте книги, и пусть ребенок видит, что Вы именно выбираете, а не берете первую попавшуюся наобум. А без книги здесь не обойтись, без книги именно в ее книжном виде, а не компьютерном.\nИсточник: <a href=\"http://v-lavochke.livejournal.com/162787.html\" target=\"_blank\">Лавочка детских книг</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:16870e75e544305918b50737b84d415f' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = ' В России все идет тем же маршрутом. На руках у наших читателей сейчас не менее 3 млн аналогичных устройств. И это не говоря об iPad, смартфонах и прочих девайсах, на которых тоже можно почитать книгу.\nПрямо на наших глазах начинает разваливаться такой привычный и стабильный книжный бизнес. Монетизировать электронную книгу пока не очень удается. По самым оптимистичным оценкам, объем электронного книгоиздания в России составляет около 2,5 млн долл. (это менее 0,1% от объема всего нашего книжного рынка). А сам книжный рынок ежегодно проседает на 8–10%. Издатель стремится сменить роль инвестора на роль провайдера литературного контента, превратиться из производителя товара в поставщика. И не факт, что это помогает. Но не стоит (если вы не издатель) по этому поводу впадать в культурологический шок. Книжный бизнес (не путать с литературой) отнюдь не вечен. Ему, как и массовой потребности в чтении, от силы всего лет 150. А бизнес-модели приходят и уходят. Ведь ко-гда-то и кто-то производил в большом количестве и арифмометры, и пейджеры…\nНо вот посреди издательского пессимизма и всеобщей растерянности есть небольшой островок стабильности – детская литература, которую уже привычно, до кучи, отпевают заодно со всей книжной индустрией. На фоне падения рынка только детская книга дает устойчивый рост, а книжные магазины выделяют под нее все большие и большие площади. И это несмотря на то, что «наши дети перестали читать», «нет новых интересных авторов», «ребенка невозможно оторвать от компьютера» и т.п.\nОставим в стороне разговоры о культурной деградации подрастающего поколения – этому мифу не одна сотня лет. Но почему объективные цифры не показывают пагубного влияния электронных изданий на традиционную детскую книгу? Лично мое глубокое убеждение, что детская литература очень органично приспособлена к бумажному носителю и это ее доволь-но долго еще будет оберегать. Электронный носитель пока не дает собственно детскому чтению ничего принципиально нового. Даже больше, электронный текст не сохраняет партикулярности чтения и превращает его в нечто совсем иное. В то время как сама потреб-ность в чтении никуда не исчезает.\nЭлектронную детскую книгу без элементов игры и анимации представить себе невозможно. А иначе зачем все это? Это мы, взрослые, относимся к электронному чтению утилитарно, поскольку оно и удобнее, и дешевле. Но ребенку этого не объяснить. Для него носитель и эмоции, связанные с процессом, неразрывны. И вот тут возникает противоречие между игрой и чтением. Одно отвлекает от другого. На электронном носителе игра всегда побеждает, поскольку он для этого и приспособлен. Об этом же говорят и факты – игровые приложения для детей скачиваются в десятки и сотни раз чаще, чем книги. А для самого ребенка очень быстро электронная книга становится недоделанной игрой с «отягощением» в виде текста.\nНу и в смысле бизнеса симбиоз чтения и игры – явление, очевидно, побочное и вызвано в первую очередь стремлением издателя реализовать в электронном виде накопившиеся у него авторские права на тексты и иллюстрации. Это понятно всем, кто попытался выпустить хотя бы одну электронную детскую книгу. Насколько я знаю, пока еще никому не удалось зарабо-тать на этом формате. Да что там заработать, хотя бы выйти в нормальную прибыль. Чего не скажешь об играх. Может быть, все-таки логичнее отдельно разрабатывать игры и произво-дить книги? На сегодняшний день это как минимум выгоднее.\nБорис Кузнецов, генеральный директор издательства «Росмэн»\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:4f4e1153d075576fc2d0df7aa148494a' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Согласно данным Российской книжной палаты, число детских книг сократилось с 131,9 миллиона экземпляров в 2010 году до 102,6 миллионов в 2011 году. Общее падение тиражей с 2008 года составило порядка 20%, и эксперты прогнозируют, что в 2012 году падение продолжится и составит порядка 8-12% \"Падение тиражей - общая тенденция. Но сегмент детской литературы по денежным средствам, которые получены от реализации, остается на уровне прошлых лет\", - говорит глава Федерального агентства по печати и массовым коммуникациям (Роспечати) Михаил Сеславинский.\nПо его мнению, эта стабильность связана не только с ростом цен на детские книги, но и с тем, что \"детская книга востребована постоянно и не живет десятилетиями\".\n\"Двухтомник Цветаевой или собрание сочинений Чехова стоят на полке еще от родителей и будут стоять дальше. А с детскими книжками этого не происходит: один ребенок изодрал обложку, другой вырвал картинку, третий - сломал электронную схему, которая говорила голосами зверей в известном стихотворении \"Чем обедал воробей\", - поясняет Сеславинский.\nСтабильному спросу на детскую литературу способствует и то, что детские книги пока не переводят в электронный формат.\nГлядя на издательства, специализирующиеся на детских книжках, гиганты вроде \"АСТ\" и \"Эксмо\", которые раньше не уделяли внимания этому сегменту, тоже стали активно развивать его.\n\"К сожалению, многие крупные издатели теперь перехватывают у нас великолепные детские книжки, мы не можем с ними конкурировать по гонорарам. А самое обидное, что у них из-за большого потока, они проходят незамеченными\", - сетует основатель издательства \"Розовый Жираф\" Юлия Загачин. Издание детской книги, как правило, обходится дороже, чем взрослой - из-за иллюстраций и высокого уровня полиграфии. А тиражи у детских книг, наоборот, значительно меньше, чем у изданий для взрослых, и на порядок ниже, чем у аналогичных изданий за границей.\nИздатели поясняют, что когда идет co-edition англоязычного детского бестселлера - одновременное издание оригинала и переводов в разных странах, то в США, например, выпускают 50 тысяч экземпляров, а в России - лишь 15 тысяч. В первую очередь потому, что в России тратят на детские книги значительно меньше.\n\"В США потратить 15 долларов на детскую книжку - ощутимо, но не смертельно, - пояснила Загачин.- Верхний предел цены детской иллюстрированной книжки в России - 210 рублей, то есть где-то 7 долларов. Это связано исключительно с покупательской способностью населения. Мы вынуждены снижать цены, и следить, чтобы цена книги не превышала 300 рублей\".\nНо несмотря на это, рынок детской книги, который еще 5 лет назад никто не воспринимал всерьез, сегодня составляет 15-20% от общего российского рынка и оценивается примерно в полмиллиарда долларов.\nPRO ВКУСЫ\nКак бы ни стремились издатели пропагандировать новую российскую и современную иностранную литературу, вкусы у большинства российских родителей весьма консервативны: Пушкин, Чуковский и Барто. По данным издателей, 80% выпускаемых в России книг - классика, и лишь 20% - современная детская литература. На Западе соотношение обратное. Переводная литература составляет примерно 30% от всех изданий, при этом некоторые мировые бестселлеры попадают на прилавки с опозданием почти в полвека.\n\"Абсолютный бестселлер, \"Очень голодная гусеница\" Эрика Карла, которая, по статистике, продается в мире каждые 25 секунд, появилась в конце 60-х годов ХХ века, но по-русски впервые издана почему-то лишь несколько лет назад, \"Розовым жирафом\", - удивляется Юлия Загачин.\nПрава на мировые бестселлеры не дешевы, у издателей просто может не хватить денег, но с российскими-то авторами проблем нет - они все получают от 8% до 12% с тиража. Более того, права на некоторых современных российских авторов охотно покупают за рубежом. Нет проблем и с художниками. \"Наша иллюстраторская школа - прекрасна, плюс выросло много молодых художников и дизайнеров, которые сейчас оказывают положительное влияние на детскую книгу. В этом смысле ситуация даже лучше, чем с авторами: найти хороший текст иногда - проблема, а найти иллюстратора - нет\", - рассказывает генеральный директор издательства Clever Александр Альперович.\nОднако, наличие как иностранной, так и российской качественной современной литературы (на которую как раз и сделали ставку большинство независимых издателей детских книг), а также спрос на нее со стороны продвинутых родителей, не изменили расстановку сил на книжном рынке.\nТройку лидеров с фантастическим отрывом стабильно, вот уже несколько лет, занимают дешевые книжки детского поэта Владимира Степанова, выпускающего массу всевозможных азбук-букварей в стихах (в 2011 году было издано 2,6 миллиона экземпляров), и как качественные, так и не очень издания Корнея Чуковского (2,4 миллиона) и Агнии Барто (946 тысяч).\nАльперович считает, что это связано с отношением нашего общества к детям: у нас достаточно консервативное образование, консервативный подход к развитию ребенка, только в крупных городах есть ростки современных методик.\n\"Я ничего не имею против Чуковского, но сводить к нему все - нельзя. Представьте себе, чтобы во взрослой литературе 80% занимали бы книги Пушкина. Почему-то взрослые к своему развитию подходят критично, пытаются понять, как устроен современный мир, ищут ответ в книгах на животрепещущие вопросы, а применительно к детям - ведут себя как махровые консерваторы\", - сетует издатель.\nPRO ШКОЛУ\nОдна из основных проблем, говорят издатели, в том, что для двух третей населения качественная детская литература просто недоступна - из-за проблем с распространением. После того как в последний кризис разорилась \"Топ-книга\", система распространения оказалась под контролем крупных издательских холдингов, которым, конечно, совсем не интересно распространять продукцию конкурентов.\nГлавной же проблемой рынка детской литературы издатели называют оторванность современной литературы от процесса обучения.\nВо всех развитых странах, рассказывает главный редактор издательского дома \"Самокат\" Ирина Балахонова, в школе есть программы классической и современной литературы, причем, рекомендованные министерствами образования списки современных книг меняются ежегодно. Окончательный выбор остается за учителем. Государство выделяет средства на закупки новинок в школьные библиотеки. Муниципальные и школьные библиотеки обязательно пополняются книгами-лауреатами литературных премий прошедшего года. Помимо того, что такая система создает и поддерживает интерес к литературе, она гарантирует детским издательствам минимальный возврат средств, на которые они могут существовать, несмотря на колебания рынка.\n\"Только в России школьные учителя литературы не обязаны следить за книжными новинками. Результат - учитель литературы и школьная программа бесконечно далеки от реальной жизни, и не ассоциируются у наших детей с интересным, современным чтением и с литературным процессом в принципе\", - возмущается Балахонова.\nОтдельные попытки издателей просветить школьных учителей наталкиваются на активное сопротивление последних, привыкших в большинстве своем ходить проторенной тропой до методического центра и обратно.\nУ издателей нет средств на то, чтобы брать на себя функции государства и заполнять школьные библиотеки актуальной литературой. А \"Национальная программа поддержки и развития чтения\", рассчитанная до 2020 года, хоть и принята, но де-факто не реализуется.\nПрезидент Ассоциации книгоиздателей России Константин Чеченев отмечает, что на Западе государство поддерживает детскую литературу тем, что пропагандирует чтение, развивает программу библиотек, а также привлекает для рекламы чтения популярных в подростковой среде персонажей - певцов, спортсменов, актеров.\nИсточник: <a href=\"http://www.epochtimes.ru/content/view/58248/9/\" target=\"_blank\">Великая Эпоха (The Epoch Times)</a>, фото - Александр Щербин (Рига).\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:73114121cfafc1b116bc0bedc3d027d6' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Проблемам сиротства, приемных детей Дина Сабитова посвятила три книги: «Где нет зимы», «Три твоих имени» и «Сказки про Марту». Вот что она сама рассказывает об этом:\n«В тот год, когда я получила премию, мы взяли из детдома ребенка. Тогда я познакомилась со многими людьми, связанными с этой темой, узнала такое количество аспектов и нюансов, что этот эмоциональный опыт потребовал какого-то выхода. Таким образом, получилось целых три книги. Первая, «Сказки про Марту», писалась под заказ. Передо мной была поставлена конкретная задача. На Западе существует такой тип литературы для приемных детей, который позволяет детям осознать себя, идентифицируясь с героем книги. Но историй о том, как ребенок попадает в семью,  как он в ней адаптируется — нет. А приемным семьям такие истории нужны. Ведь если ребенок маленький, а родители хотят с ним говорить на эти темы, ничего лучше, чем сказка не придумаешь.\nИдея создать такую книгу на русском языке появилась у Алексея Рудова. Он представляет проект «К новой семье». В свое время Алексей перелопатил большое количество западных книг на эту тему, и понял, что нужно писать что-то свое, переводом такой литературы проблему не решить, слишком разные реалии, и бытовые, и усыновительские. Когда я писала «Сказки про Марту», пришлось работать с психологами, связанными с темой усыновления. Мы буквально оттачивали каждую фразу, чтобы родители смогли использовать ее в разговоре с приемным ребенком. В итоге вышла книга, которая состоит из двух маленьких сказок для детей 4 и 7 лет. В этих сказках котенок Марта разговаривает со своей мамой-кошкой. Возникает история о том, откуда Марта появилась в семье, как ее принимают родители, и как она сама себя ощущает внутри этой ситуации. Вторая сказка заканчивается словами Марты о том, что они с родителями очень похожи — они любят лепить снеговиков, плавать, ходить по музеям, и так далее. А художник специально нарисовал героев так, что внешне они не похожи совершенно. Мы хотели акцентировать внимание на том, что семья - это не обязательно кровное родство, но родство духовное, любовь друг к другу, общие интересы. Книга «Сказки про Марту» имеет совершенно конкретного адресата — семьи, которые усыновили ребенка и не хотят сохранять тайну усыновления. Этим людям книга оказалась очень нужна, и детям она нравится».\nВторая книга, «Где нет зимы» тоже посвящена проблемам усыновления. Написать ее автора побудила реальная история, вот что рассказывает писательница: «Как-то в Москве, в кафе, встретились небольшой компанией мамы, у которых были приемные дети. Я тогда на них смотрела, и мне казалось, что над ними просто какое-то сияние распространяется, что это совершенно необыкновенные люди. Вот мы тут сидим, и никто не знает, что у каждой из этих женщин есть приемный ребенок, а то и не один.\nА история, ставшая основой книги, была такая: мама, у которой уже был приемный сын однажды, первого сентября привела его в школу, и увидела, что место рядом с ее мальчиком пустует — нет его друга, с которым он сидел за одной партой. Она стала узнавать, и выяснила, что мать того мальчика умерла, а он попал в приют. Первая мысль у этой женщины была - забрать товарища своего сына к себе. Она собрала документы, и пришла за ним. И тут выяснилось, что у мальчика есть старший брат-подросток. Это в ее расчеты совершенно не входило, забирать к себе незнакомого 14-летнего подростка, который с тобой вообще никак не связан — это очень большой риск. Но когда она пришла, старший мальчик заплакал. Он надеялся, что кто-то их заберет, что они не одни на свете. И женщина не смогла через это перешагнуть, и взяла из приюта обоих детей. И она справляется. В жизни, может быть, не все так «шоколадно», как в моей книге — в книге я многие обстоятельства поменяла, оставив только основу сюжета, но она, эта мама — справляется. Хотя ей, конечно, нелегко. Во всяком случае, ее дети выйдут в жизнь не из приюта, а из семьи».\nУ новой книги Дины Сабитовой <a href=\"books/111\">«Три твоих имени»</a> целых три положительных финала. Ну, или два плохих, и один хороший. У  героини три жизни, в каждой из которых она носит новое имя. Книга начинается с того, что в глухом сибирском селе, в семье пьющего пастуха растет девочка. Родители Ритки слишком заняты водкой и гостями, и, когда она идет в первый класс, в школу ее собирает соседка. Эта часть книги заканчивается пожаром, сгорает Риткин родительский дом. Дальше дорожка сюжета раздваивается - в конце первой части книги отец девочки «берется за ум» и собирается заново отстраивать свое жилище. Но следующая глава начинается с того, что после пожара сирота Марго попадает в детдом, откуда ее забирает к себе школьная медсестра. Однако, вскоре приемная семья переезжает в другой город, и «дочку» почему-то с собой не берет, девочку возвращают в детдом. Свою приемную мать Марго зовет «мамой», но та, видимо, относиться к своим усыновительским обязанностям формально, и делает для «дочки» только то, что оплачено государством. Но в конце второй части тоже есть вариант положительно финала — приемному отцу Марго удается уговорить свою жену, и девочка едет в другой город вместе со своими новыми родителями. Третья часть книги снова начинается в детдоме. Там живет девочка-подросток. Она хочет в семью, но уже великовата для усыновления. Но о героине сняла ролик приехавшая в детдом телегруппа. Гошка (теперь ее зовут так) начинает переписываться с людьми, которые откликнулись на передачу, но никто из потенциальных родителей не торопится забрать девочку домой. В конце концов, происходит чудо — Гошка попадает в семью, где ее любят. Последний, настоящий, финал книги бесспорен и основателен.\nВот, что автор говорит о сюжетном построении книги: «Я хотела показать, что почти из любой жизненной ситуации может случиться хороший финал… хотя, может быть, и плохой. Эти развилки в жизни бывают очень неожиданными, особенно, когда мы говорим о семьях неблагополучных. Эти семьи ходят по краю. Почему иногда из одной семьи изымают детей, когда «капает последняя капля», а другая, столь же неблагополучная семья умудряется держаться на плаву, и органы опеки стараются ее сохранить. Ведь если речь не идет о семейном насилии, в семье детям по-всякому оставаться лучше, чем расти в детдоме. Вот эту шаткую ситуацию, которая может свалиться в жизненную трагедию, в распад семьи, а может как-то выправиться, я и хотела показать».\nРаботая над книгой, Дина Сабитова, конечно, не могла не принимать в расчет своего самого главного, и самого строгого будущего читателя, старшую дочь. Не секрет, что именно она стала прототипом главной героини. Рассказывает Дина Сабитова:\n«Мы собирались усыновить ребенка. Но если бы мне тогда до этого сказали, что я возьму в дом 16-летнюю девочку из другого города, из другой среды, я бы не поверила. С чего бы вдруг? Но, как говорит одна моя подруга, которая тоже в теме, что когда рассудочно идешь по этому пути, могут быть какие-то сложности, препоны…Но иногда так получается, что звезды выстраиваются в ровную линию у тебя над головой, и все получается, и нет никаких сомнений. У нас вышло именно так».\n«Очень многие подробности этой книги я взяла из ее рассказов, из реальной жизни. Причем то, что касается жизни в деревне, я еще очень смягчила, - говорит писательница, - да и сама схема ситуации тоже реальная,  потому что дочка у меня после так называемого «вторичного отказа». Почему от Люшки отказались приемные родители, я до сих пор не понимаю. Все люди, которые встречаются с моей дочерью (абсолютно все!), остаются с ней друзьями. Она очень обаятельный человек. Я смотрю на ее фотографии, на которых ей 12 лет, и не понимаю, как такого ребенка можно было не полюбить. Как ее можно было бросить? Ведь даже к кошке привязываешься! А все было еще более резко, чем в книге. Девочку положили в больницу и сказали, что оттуда она вернется в детский дом. Развернулись и ушли. Собственно, патронатный договор был составлен на три года, просто его прервали раньше. «Мама» была в детдоме музработником, за приемного ребенка платили деньги, и шел педагогический стаж. Для девочки это была семья, а для них, видимо, - работа, причем такая работа, в которую не вкладывали душу. Люшка их звала «мамой» и «папой». Два года для 12-летнего ребенка — это большой срок. Для нее эта тема до сих пор осталась очень болезненной. Мне кажется, что пройти через такие испытания и остаться светлым, приятным в общении человеком, это нужен особый характер, жизнь ее не сломала и не покалечила. В детском доме я ее воспитателей буквально «хватала за пуговицу» и допрашивала: «Я забираю взрослого, незнакомого мне ребенка, ей 16 лет. Я рискую! А вы мне без остановки ее хвалите. Скажите уже что-нибудь плохое. Мне нужно знать правду!» Воспитатели задумались, растерялись, но сказали только: «Когда что-то не по ней, она замыкается и дуется» Все, что они смогли сообщить о 16-летней детдомовской девочке!\nВ Новосибирске, где я взяла Люшку, есть общественная организация «День Аиста», она объединяет людей, которые взяли приемных детей и так «вросли» в эту тему, что продолжают помогать. Мы с мужем, сначала, как и многие, хотели ребенка помладше. Конечно, рисковали мы сильно. Перед усыновлением я дочку видела только на фотографии, лицом к лицу мы общались всего четыре дня, пока я оформляла документы. Началось с того, что Радио России сделало о нашей девочке передачу.  Эта передача до сих пор есть, она называется <a href=\"http://deti.radiorus.ru/\">«Детский вопрос»</a>, они обычно берут какие-то неочевидные случаи, детей подрощенных, с какой-то сложной историей, с проблемами. Потому, что маленького голубоглазого ребенка с льняными волосами и ангельским характером и так усыновят. Все было почти так, как у меня в книге описано, приехали журналисты делать передачу о другом ребенке из детдома, а Люшка подошла сама, и рассказала о себе. Это был безнадежный проект, ну кто возьмет 16-летнюю? Люшка всегда очень хотела в семью. Она говорила: «Я хочу в семью, я знаю, что это такое».\nКогда я прочитала Люшкину историю мужу, и показала ее фотографию, он сначала никак не отреагировал, просто промолчал. А через несколько дней на форуме один волонтер, который знал ее лично, написал, что после той передачи девочке очень многие пишут, и звонят, и шлют подарки, но взять никто не хочет. И ему нечего сказать ребенку, а сама она говорит: «Все пишут, какая я замечательная, а я все равно никому не нужна». И вот тут меня «торкнуло». Мы решили ехать в Новосибирск. На тот момент моему старшему сыну был 8 лет, а младшему — 3 года. И у них появилось старшая сестра. Официально она сначала она у нас была под опекой, а теперь это просто взрослый член нашей семьи. Сейчас ей уже 20 лет, она учится в колледже, который сама выбрала, будет парикмахером. Любит нас, очень привязана к дому, сажает цветы в саду.\nПодводных камней при усыновлении очень много, нам просто повезло. Например? У детдомовцев есть стереотип, что семья - это вечный праздник. Особенно у подросших детей. Они бывают огорошены, когда с них начинают требовать, чтобы они помогали по дому и делали уроки. В детдоме никто ничего не требовал, и там была уборщица. А у родителей стереотип, что они сейчас возьмут в дом прелестную сиротку, которая тихо вышивает крестиком, и будет по гроб жизни благодарна за то, что ее взяли и, как минимум, будет податлива на ласку. А ведь «обратной связи» от приемных детей порой приходится ждать очень долго. Но она будет обязательно. Тут так — сколько ты в ребенка вложишь, столько ты назад и получишь. Адаптация — процесс долгий, иногда она идет до двух лет. Почти приемные родители, даже которые берут маленького ребенка, четырехлетнего, например, говорят вот о чем: сначала в отношениях с приемными родителями идет «медовый месяц», когда ребенок очень старается. Потом он привыкает и расслабляется, и начинает проверять взрослого на прочность - действительно ли его любят и зачем его взяли, и становится очень плохим, вплоть до воровства, битья посуды, криков, истерик. Но даже если ребенок резких движений не делает, взрослый вдруг понимает, в какой-то момент, (через неделю, через месяц или через полгода) что одно дело, когда к тебе пришел ребенок друзей, и остался на вечер, а другое - когда к тебе пришел чужой ребенок и остался навсегда. Вот это ощущение, что у тебя постоянно присутствует чужак в семье, есть почти у всех оно проходит за год, за два.\nНо Люшка наша — нетипичный случай, у нас не было никакой адаптации. Конфликты за все время были полтора раза, и то это были чисто подростковые дела. А вообще, взять подростка в семью - это, конечно, безумие. Нам просто повезло на конкретного человека. Все говорили, что девочка очень хорошая, что она впишется в семью, и эти слова оказались чистой правдой. Мы чувствуем она - наша. Мне часто задают вопрос - что в Люшке изменилось за годы жизни в семье. Сложно ответить. Она как была хорошая, так и осталась. Стала спокойнее, наверное. Первое время она очень старалась нам понравиться, была внутренне все время в напряжении. Может быть, потому, что она, как и многие вокруг не понимала, что это с нами случилось, зачем она нам вообще нужна, чего нам в жизни не хватало.\nВспомнилось — когда мы только взяли дочку из детдома, то сразу поехали всей семьей на машине, в Карелию, с палаткой. Хотели, чтобы наше общение начиналось в дороге - приготовить еду, сходить за грибами, наладить быт, это объединяет. И вот, когда мы через две недели возвращались, Люшка ехала и говорила: «Скорей бы домой!». А ведь она в этом доме прожила до этого всего неделю…\nА теперь у нас просто — жизнь. Мне запомнился совет психолога: когда берешь ребенка, надо не копаться в себе на предмет любви-нелюбви, а просто — жить. Я не исключаю возможности того, что когда-нибудь в нашей семье появится еще один ребенок».\nИсточник: <a href=\"http://www.taday.ru/text/1224423.html\" target=\"_blank\">Татьянин День</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:44386f0cf0f3a6ae7f0f22ccc282fd5f' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '\"Я читаю \"Джейн Эйр\" Шарлотты Бронте. Только вы об этом никому не говорите! Можно, мы с вами о ней поговорим, когда выйдем из школы?\" – девочка-подросток (назовем ее Анной) смущенно мяла в руках школьную сумку. Оказалось, это сегодня обычное явление – сегодняшние старшеклассники стесняются чтения, особенно если речь идет о \"золотой полке\", то есть книгах, на которых выросли несколько поколений их предков.\nНеутешительная статистика, рисующая апокалиптическую картину массового отказа от книги, строится в основном на опросах самих детей и их родителей. Она не учитывает знакомого социологам явления: отвечая на вопрос исследователя, люди часто не говорят о тех явлениях своей жизни, которых стесняются. И еще чаще – после опроса они ведут себя совсем не так, как якобы планировали в момент общения с анкетером.\nЭтим явлением объясняются социологические сюрпризы на выборах, когда люди внезапно голосуют за персонажа, которого перед этим на опросе сами же величали шутом или фашистом. На публике человек стыдится признаться, что \"в чем-то\" с этим самым фашистом согласен. А наедине с избирательной урной – признается.\n<h3>Клеймо \"ботаника\"</h3>\nАнна и ряд ее друзей признаются, что читают зарубежную классику – для себя, не по школьной программе, но чувствуют себя при этом белыми воронами. Я попросил Анну изложить свои ощущения на бумаге.\n\"Очень немногие мои сверстники согласны носить клеймо \"ботаника\", а общественное мнение создает стереотип, что книги читают только \"ботаники\". Какой там Пастернак, когда есть \"В контакте\"! Там можно выложить свои фотографии и прокомментировать чужие – и все понятно почти без слов. При этом многие мои сверстники в графе \"любимые книги\" пишут \"таких нет\", а некоторые даже добавляют: \"И не будет!\" Видимо, считают это остроумным. Те же, кто и на такое остроумие не способен, сразу переходят к графе \"любимая музыка\" или \"любимые фильмы\",- написала Анна.\nУвы, есть не только впечатления Анны, но и вполне \"взрослые\" социологические исследования, которые подтверждают: чтение художественной литературы в подростковой среде сегодня часто воспринимается как слабость, как некое старомодное чудачество. И это тревожная тенденция. Ведь чтение – это общие культурные коды, это эмоциональная \"привязка\" людей друг к другу. Если родителей и детей не связывают хотя бы 2-3 вместе прочитанные серьезные книги – слабеет семья, если тот же книжный \"раствор\" не скрепляет нацию – разваливается нация.\n<h3>Детство обрывается досрочно</h3>\nНо почему же запойное подростковое чтение, стабильно овладевавшее новыми поколениями школьников почти весь двадцатый век, вдруг перешло из разряда \"высокой болезни\" (по Пастернаку) в разряд непрестижного чудачества? Сотрудники библиотек, методисты детского чтения отмечают: школьники стали раньше прежнего переходить на \"взрослую\" модель чтения, когда человек читает или \"по работе\" (нужно овладеть какими-то практически полезными знаниями), или для развлечения (тут сойдет и \"взрослая\" Дарья Донцова). Книга-друг, книга-тайна (не говоря уже о книге – учителе жизни) почти исчезла из жизни детей именно старшего школьного возраста.\nВ младших классах дети еще читают – из любопытства или по приказу взрослых. (Отказавшись во многих случаях от чтения сами, родители считают своим долгом научить ребенка бегло читать, а потому книги для дошкольников и младшего школьного возраста продаются намного лучше подростковой литературы.) Только-только научившийся складывать буквы в слова малыш с удовольствием прочтет и родившегося почти 120 лет назад Корнея Чуковского, и Агнию Барто, и Сергея Михалкова (все трое – бессменные лидеры продаж, их книги представлены в современных книжных магазинах в количестве от 40 до 60 наименований). А вот подросток хочет читать про современную ему жизнь, он инстинктивно отвергает вкусы родителей, наивно полагающих, что их ребенку будет интересно то же, что было интересно им 30-40 лет назад. Подросток ищет на рынке \"свою\" литературу – и не находит ее.\n<h3>\"Парк писателей\" устарел</h3>\n\"Исследования и опросы, проводимые библиотекарями, свидетельствуют о том, что есть \"разрывы\" в предпочтениях подростков и репертуаре книгоиздания,- пишут специалисты по детскому чтению Мария Порядина и Константин Сухоруков в монографии \"Литература для детей в современном московском книгоиздании\".- Подростки хотят читать книги о сверстниках, приключенческую литературу, а издательствами им навязываются детективы, триллеры и комиксы\".\nМожно, конечно, всем рекомендовать \"Кортик\" и \"Каникулы Кроша\" Анатолия Рыбакова – там как раз и о сверстниках, и о приключениях, да вот беда – уж очень давно это приключения совершались. В пятидесятые и шестидесятые года – еще когда папы и мамы не было на свете…\nПохожая проблема есть и у взрослых – \"парк писателей\", доставшийся нам от советского периода, неуклонно стареет, давая такие же сбои, как старые самолеты конструкторских бюро Туполева и Илюшина. Появляющиеся на горизонте новые имена – в основном беллетристы, типа той же Донцовой.\nНеужели нет хороших писателей для юношества? Есть – и в России, и за рубежом. Особенно много их почему-то в Швеции. Но только система оплаты переводов, книгоиздания и особенно книготорговли построена так, что именно за подростковую литературу автор или переводчик получает жалкие гроши, если вообще что-то получает.\n<h3>Способы отъема денег у писателей</h3>\nПочему? Во-первых, издательства неохотно берут произведения молодых и неизвестных авторов (а о подростках писать лучше все-таки не в старческом возрасте). Во-вторых, издают книги для подростков маленькими тиражами (если речь не идет о Джоан Роулинг с ее \"Гарри Поттером\"). Куда им до беспроигрышных, раскрученных через мультфильмы классиков для младшего возраста типа Астрид Линдгрен с ее Карлсоном! В-третьих, наше государство фактически наказывает маленькие, экспериментирующие с новыми авторами издательства рублем. Как?\nГлавный риск для издательства при работе с малоизвестным автором для подростков – это возможность появления нераспроданного тиража, который магазин захочет вам вернуть. Обычно издательства выкупают такие тиражи у магазинов по той же цене, по которой продали эту книгу этим магазинам. Книга возвращается в издательство непроданной, но государство рассматривает ее как реализованную (магазин-то ее купил) и требует налог на добавленную стоимость (НДС) и налог на прибыль. А налог на прибыль от продажи книг у нас такой же, как на прибыль от продажи бульварных изданий – 24 процента. (Дело в том, что книга в законодательстве проходит под разрядом \"и другие СМИ\", а потому и налогом облагается таким же, как журнальчики с полуголыми девицами.)\nНеудивительно, что издательства безумно боятся нераспроданных тиражей и стараются свести процент \"возврата\" к нулю. Как это сделать? Брать раскрученных авторов и позабыть об экспериментах с молодыми подростковыми романтиками. К тому же с этими романтиками скоро просто некому будет работать: в условиях кризиса и сокращения читательского спроса издательства укрупняются – выживают такие \"киты\", как АСТ или \"Эксмо\". А с малоизвестными подростковыми авторами во всем мире работают как раз малые и средние издательства.\nДмитрий Бабич, источник: <a href=\"http://www.ria.ru/authors/20111019/464242851.html\" target=\"_blank\">РИА Новости</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:b63bd2356033079d14eec8814758fc98' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '10 марта 2011 годав состоялся круглый стол «Книгоиздание и телевидение для детей и юношества. Взаимодействие государства, бизнеса и общественности», организованный Общественным Советом при Федеральном агентстве по печати и массовым коммуникациям. Предлагаем вниманию читателей доклад Константина Чеченева — генерального директора издательства «Белый город» и президента Ассоциации книгоиздателей России, сделанный в рамках данного круглого стола.\nТема моего сегодняшнего выступления «Доступность и востребованность детской книги». Для начала мы поговорим о показателях книгоиздания для детей, далее рассмотрим ситуацию на книжном рынке России по разделу детской книги. Это поможет нам выявить основные проблемы, связанные с детской литературой. Далее мы остановимся на том, какими методами подобные проблемы решались в других странах. И, наконец, мы озвучим наши предложения по решению отмеченных проблем.\nЗдесь представлена динамика выпуска в сегменте детской литературы за последние 10 лет. По сравнению с советским периодом её доля по тиражу заметно снизилась: с 29% до 20%. Тем не менее, как мы видим на графике, в 2000-е гг. рост детской литературы шел опережающими темпами: +88% за 10 лет против +21% по всему книжному рынку. Однако за последние 2 года в связи с кризисом даже выпуск детской литературы стал сокращаться: -12% за 2 года. Что касается среднего тиража детских изданий, то по сравнению с советским периодом он сократился в 13 раз: со 153 тыс. до 12 тыс. экземпляров.\n<img src=\"http://www.pro-books.ru/sites/default/files/u110/che1.jpg\" width=\"400\" height=\"247\" />\nРассмотрим вкратце динамику выпуска по разделам и возрастным категориям. Очевидно, что в 2000-е гг. локомотивом роста локомотивом роста выпуска была познавательная лит-ра (+271%), однако в 2010 г. доминирующее положение заняла художественная лит-ра. В возрастной структуре преобладают книги для детей дошкольного возраста, в то время как выпуск книг для школьников и юношества претерпевает глубокий спад (-32%).\nЗдесь представлены самые издаваемые писатели в 2010 г. Отрадно, что среди лидеров, в основном, русские писатели: Чуковский, Степанов, Барто и многие другие. Однако этот список настолько стабилен, что туда крайне редко попадают новые современные писатели.\nТеперь рассмотрим ситуацию на книжном рынке в разделе детской литературы. В структурном разрезе, очевидно, что учебная и детская литература занимают ведущие позиции на книжном рынке России и постепенно ситуация оборачивается в их пользу.\n<img src=\"http://www.pro-books.ru/sites/default/files/u110/che2.jpg\" width=\"400\" height=\"201\" />\nТем не менее, сравнение экземплярных продаж рынка и книгоиздания позволяет выявить 2 важных тенденции. Во-первых, стоит отметить, что инициаторами роста художественной литературы стали именно книгоиздатели, выдвинувшие на рынок новые идеи, форматы и ценовые категории. В то же время серьезный спад продаж в 2009 году в разделе «Познавательная литература» заставляет их уходить издателей из этого сегмента, что ещё больше усугубит ситуацию в нем.\nОбщий объем рынка детской книги оценивается нашим аналитическим отделом в 7,8 млрд. руб. За 2 года он прибавил около 24%. Локомотивом роста была «Художественная литература», которая позволила сегменту детской книги одним из первых выйти на докризисный уровень ещё во 2 половине 2009 г. и значительно превысить его.\n<img src=\"http://www.pro-books.ru/sites/default/files/u110/che3.jpg\" width=\"400\" height=\"242\" />\nОгромный прирост продаж художественной литературы (+30-60% в год) сопровождался значительной стагнацией познавательной литературы, особенно для самых маленьких и для подростков: по 20-30% в год. С одной стороны, это подтверждает тенденцию перехода подростков от познания с помощью книги в интернет-среду, которая является более удобной, динамичной и дешевой.\nНаша задача, в этом плане, не дать компьютеру полностью засосать в себя наших детей и воплотить в жизнь пословицу: «С книгой поведешься – ума наберешься!»\nПодобные тенденции привели к значительному изменению структуры продаж: рост доли художественной литературы с 40% до 67%. Доля книг для самых маленьких и познавательной литературы для школьников сократилась в 1,5-2 раза.\nВышеописанные тенденции легко объяснить, если посмотреть на динамику средней цены проданной книги по категориям. Как видим, за 2 года она выросла с 212 до 285 рублей. Локомотивом этого роста, опять-таки, стали цены на художественную литературу. В остальных категориях цены стабильны или даже снижаются. К тому же, средняя цена в регионах приблизительно в 2 раза ниже, чем в Москве.\n<img src=\"http://www.pro-books.ru/sites/default/files/u110/che4.jpg\" width=\"450\" height=\"243\" />\nИнтересная тенденция наблюдается в ценовых категориях. Доля продаж в дорогом сегменте выросла с 1,7% до 8%. Это говорит о том, что люди стали более склонными покупать дорогие книги в интерактивном и подарочном оформлениях. Также покупатели постепенно переходят из сегмента до 200 руб. в сегмент 200-400 руб.\nИтак, вышеописанные тенденции, а также опыт работы на книжном рынке, позволяют обрисовать круг серьезнейших проблем, присущих детской книге. Первая проблема – нестабильность её динамики. Выявлен существенный спад интереса к книгам для малышей и к познавательной литературе для школьников, являющимися  фундаментом детского образования. При этом рост «Художественной литературы» существенно замедлился в связи с перенасыщением рынка однотипными изданиями, что может сказаться не только на будущей ситуации на книжном рынке, но также и на общем интеллектуальном уровне подрастающего поколения.\nНа данной диаграмме представлены результаты социологического опроса, проделанного компанией inFOLIO Research Group в апреле 2009 г. по поводу предпочтений российских родителей в отношении детской литературы. Были выявлены следующие тенденции.\n<img src=\"http://www.pro-books.ru/sites/default/files/u110/che5_0.jpg\" width=\"400\" height=\"223\" />\n<ol>\n<li>На первый план выходит оформление, а не содержание книги.</li>\n<li>Растет значимость игровых элементов в книге. Книга из интеллектуальной среды переходит в среду игрушек с выдвигающимися картинками, пропущенными строчками и т.п.</li>\n<li>Растет значимость авторских и серийных брендов, а также брендов издательств.</li>\n</ol>\nСледующий круг проблем связан с распространением детской литературы. Во-первых, из-за её удорожания и низкого тиража снижается доступность детской книги в регионах, а из-за высоких транспортных и почтовых издержек детская книга, которая отвечает запросам читателей в регионах, становится все менее доступной для них.\nБольшая доля выпускаемой сегодня детской печатной продукции адресуется, как мы отметили, дошкольной аудитории. Так было и в советское время. Но только тогда доминировала литература – фольклор и русская, советская, зарубежная классика, апробированные тексты, лучшие, отобранные иллюстрации. Сейчас для этой части аудитории тоже выпускаются фольклорные произведения, часто в виде книжек- игрушек, но обработки его зачастую принудительны и бестактны, оформление безвкусно, санитарно-гигиенические нормы по шрифту или цвету не выдерживаются, тексты даже авторских произведений претерпевают редакционную или составительскую хирургию, искажающую произведение в его образной, ритмической, звуковой части. Конечно, это касается не 100% выпущенных книг, но все же достаточно заметно.\nВо-вторых, крайне неразвитым остается региональное книгоиздание. Более 50 названий детской книги выпускают чуть более 30 издательств. Устойчивый выпуск детской книги поддерживают всего 10 региональных. В остальных детская книга занимает единичные позиции. В-третьих, практически отсутствует возможность распространения детских книг в сельской местности, а иногда и в райцентрах.\nСледующий круг проблем связан с потерей книгой своего истинного статуса, особенно у подростков, предпочитающих книге интернет и социальные сети. Это приводит к вырождению грамотной русской речи и широкому распространению сленга. Отсутствует пропаганда книг и чтения. Также проблемой является то, что государство практически никак не поддерживает издателей, выпускающих детскую литературу. Нет никаких преференций, почтовые и транспортные льготы.\nПосмотрим на другие страны: схожие процессы шли и у них. Как решались проблемы там?\nа) Налоги. В 18 европейских странах НДС на книги не превышает 5-6% при уровне 18-25% на другие виды продукции. При этом в Великобритании, Ирландии, Норвегии, Польше, Украине на книги НДС составляет 0%.\nб) Организационно- идеологические формы. В Великобритании, где поставлена задача сохранения уровня культуры, активного вовлечения детей и молодежи в процесс чтения, существует ряд государственных или общественных структур, имеющих целевые программы и поддерживающих целевым образом массовые и школьные библиотеки, а опосредовано – издателей.\nНазову лишь несколько.\n<ul>\n<li>Программа «Стартуем с книгой». В программе участвуют все библиотеки, Министерство культуры, Министерство образования, Агентство по освоению навыков грамотности. Финансирование - из гос.бюджета, семьям с новорожденными преподносятся 3 комплекта книг с рекомендациями родителям. Программе оказали поддержку 25 крупнейших издательств Англии, выделив почти бесплатно 1 млн.экз.книг. Оценки содержания и действенности программы осуществляются независимыми экспертами (один из университетов).</li>\n<li>Праздник «День читателя» проводится ежегодно, направлен в поддержку современной англоязычной литературы.</li>\n<li>Программа «Чтение» основана Национальным трестом грамотности, в ее рамках выделяются средства организациям на приобретение книг, тренинги чтения, разработку методики для библиотекарей, встречи читателей с писателями.</li>\n</ul>\nСуществует букет организаций этого профиля, создающих необходимую среду для успеха в этой работе: Совет по искусству Англии, Национальная лотерея, Общество директоров библиотек, Национальный трест грамотности, Агентство по чтению.\nВ Швеции осуществляется государственное субсидирование конкретных книг – нужных по оценкам экспертного совета, но не обеспечивающих рентабельность издательству. Субсидии государства издателю выделяются в рамках соответствующей программы по детской книге – в размере 50 % затрат на изготовление. Шведский национальный совет по культуре ежегодно выпускает 500 тыс.экз. каталога новинок для детей и молодежи.\nАналогичные примеры можно привести из практики Норвегии, целевой пропагандисткой работы в Австрии, Германии.\nТаким образом, выстраивается идеология процесса.\nЧто же нам предпринять, чтобы восстановить культ книги, некогда существовавший, чтобы не уйти с этого рубежа культуры и национального языка?\nПервое – это, конечно, всемерная пропаганда книги:\n<ul>\n<li>интенсивная и разнообразная работа школьных и массовых библиотек;</li>\n<li>организация книжных праздников и праздников русского языка в школах и на улицах;</li>\n<li>восстановление прежних форм – книжной лотереи, в т.ч.беспроигрышной, семейные книжные дисконты и бонусы;</li>\n<li>активнейшая пропаганда чтения и книги на ТВ и в наружной рекламе;</li>\n<li>цензура и запретительные меры для малограмотной рекламы;</li>\n<li>льготы для организаций, работающих с детской и подростковой книгой, организация книжных клубов с льготными продажами (в т.ч. через школы);</li>\n<li>бюджетные программы по выпуску детской и подростковой периодики.</li>\n</ul>\nВторое – создание, организация и надлежащее финансирование государственных целевых программ, как, например, федеральной целевой программы для детских и юношеских библиотек, а также гарантии доступности детской книги и Усиление приоритета детской книги в целевой программе «Книги России».\nИ, наконец, третье – повышение экономической заинтересованности издательства в выпуске детской книги современных авторов: отмена или снижение НДС на детскую книгу, гарантированный частичный выкуп книг детскими библиотеками, проведение издательских и литературных конкурсов, предоставление льготного информационного  места в СМИ, контроль за предоставлением места региональным издательствам в книжной торговле по этой тематике.\nКонстантин Чеченев, источник: <a href=\"http://pravkniga.ru/news.html?id=7963\" target=\"_blank\">Правкнига</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:da8cbc03c16f653ed06c964ea2199de7' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'В первом квартале 2010 года специалисты компании inFOLIO Research Group провели исследование потребительских предпочтений на московском рынке детской литературы среди активных пользователей всемирной сети Интернет. Востребованность исследования со стороны участников книжного рынка очевидна: с одной стороны, текущий финансовый кризис провоцирует спад продаж детской литературы, с другой – в условиях динамично меняющегося рынка происходит изменение традиционных моделей потребительского поведения, повышаются требования к качеству выпускаемой детской литературы.\nВ этих условиях мониторинг потребительских предпочтений является безальтернативным инструментом построения успешной маркетинговой политики. Среди прочих целей, стоящих перед исследователями, наиболее важными можно назвать моделирование иерархии факторов, побуждающих к покупке книг для детей или, наоборот, препятствующих их успешной реализации, определение эффективных типов глобальной и локальной коммуникации, выявление наиболее привлекательного образа детской книги.\nМетодология исследования\nОснову исследования составил метод peer group дискуссий по двухступенчатой репрезентативной выборке, состоящей из 2-х этапов. Peer-group дискуссия по своей специфике схожа с методом этнографии, так как проводится в естественных и максимально комфортных условиях для респондентов и используется для решения тех же задач, что и фокус-группы. Основное отличие – возможность получения более детальной информации от каждого респондента, благодаря максимальному отказу от ограничивающих рамок: респонденты могут анонимно высказываться, а модераторы – свободно переходить от индивидуальных интервью к групповым.\nВ исследовании приняли участие респонденты в возрасте 18 – 55 лет, имеющие детей дошкольного (3-6 лет) и младшего школьного (7-11 лет) возраста, самостоятельно принимающие решения о покупке литературы для детей. Одним из важнейших факторов отбора стала интернет-активность: респонденты должны были быть либо модераторами форума, либо его активными участниками (т.е. оставлять на нем сообщения не реже трех раз в неделю). Для удобства выполнения аналитических процедур все участники дискуссий были поделены на три возрастные группы: 18-35 лет, 36-45 лет и 46-55 лет.\nВ ходе проведения peer-group дискуссий применялись такие проективные методики и упражнения как  фантастические  и гипотетические сценарии, свободные и направленные ассоциации, группы конфликта, аналогия и персонификация.\nПотребительский консерватизм \nНесмотря на обилие на полках книжных магазинов книг современных российских и зарубежных авторов, а также наличие весомой альтернативы традиционному чтению в виде Интернета, телевидения, кино и мультипликационной индустрии, покупатели по-прежнему ориентируются на проверенные временем книги, ставшие классикой детской художественной литературы. Устойчивая популярность всем известных авторов объясняется, прежде всего, консервативностью представлений о воспитании, а также желание предложить детям «проверенные» книги, поделиться с ними частичкой своего собственного детства.\nВот несколько цитат из интервью респондентов:\n<ul>\n<li>«Я  с удовольствием читаю детские книги своим детям на которых выросла сама…..Такие книги не научат ничему плохому».</li>\n<li>«Нам читали наши родители эти книжки, а теперь мы читаем их своим  детям, это как традиция своеобразная».</li>\n<li>«Мне кажется, классика и есть классика, на классике выросло не одно поколение, а это уже о чем –то говорит, значит и моему внуку вреда не будет».</li>\n<li>«Книги должны быть добрыми, учить и развивать ребенка, содержать мораль, а иначе он вырастет  неприспособленный к жизни, а мамы и папы уже рядом не будет, ничему не научиться и что толку. Хотя сейчас такое время переменчивое, что мне хочется, чтобы мои дети умели и знали все, поэтому я считаю, что одних только классических книг детских мало, все должно быть в комплексе, поэтому мы покупаем разные книги. Но, без классики никуда, пусть сначала пройдет общую программу, а потом начнутся игрушки компьютерные всякие, стрелялки там и толку никакого. По крайней мере, хоть моя совесть будет чиста, что я его хоть чему – то научила».</li>\n</ul>\nВажно, что  своеобразным знаком качества литературного произведения для детей является «старый» хорошо известный с детства автор. В целом позитивно воспринимаются современные российские писатели. Значительно хуже «идут дела» у зарубежных авторов, книги которых не вызывают интереса родителей обеих категорий детей.\nМотивы и стимулы потребления\nОсновными мотивами покупки литературы для детей оказались рациональные: книги приобретают, прежде всего, в воспитательных и образовательных целях. Немаловажную роль играет и желание способствовать развитию воображения ребенка. На второй план оттеснены потребности сохранить семейные традиции, развлечь ребенка, наконец, выполнить собственную социальную и гендерную роль родителя («По крайней мере, хоть моя совесть будет чиста, что я его хоть чему-то научила»). Преобладание рациональных мотивов потребления отчасти можно объяснить принудительным характером стимулов покупки, среди которых главную роль играют рекомендации воспитателей и педагогов.\nТаким образом, главной потребительской выгодой от приобретения литературы для дошкольников является подготовка детей к учебному процессу. Что же касается школьников, то книги для них рассматриваются как средство закрепления и повторение школьной программы, а также подготовки ребенка к дальнейшей учебе. Во многом отождествление детской художественной литературы с учебной является реакцией на утрату интереса детей к книге как к развлечению.\nКризис и барьеры потребления\nЛогично было бы предположить, что в условиях сокращения семейного бюджета, которое  в течение последних полутора лет переживают многие семьи, сократится и потребление литературы для детей. Однако, вопреки ожиданиям, глобального спада продаж в сегменте не наблюдается. Как показывает исследование, потребители на детях не экономят. Незначительное изменение модели потребления литературы для дошкольников выражается лишь в переключении на развивающую литературу, по причине того, что художественная уже есть дома, а содержание детских энциклопедий можно «посмотреть» во всемирной сети. Что касается книг для школьников, то в этом подсегменте основной упор делается на издания, рекомендуемые в рамках школьной программы, либо помогающие ребенку развивать осознанно выбранное хобби.\nНе следует сбрасывать со счетов и «некризисные» барьеры, среди которых можно выделить наличие домашней библиотеки, а также растущую популярность персональных компьютеров и интернета, DVD/Video/Audio дисков и кассет, игровых приставок и мультфильмов, зачастую подменяющих детскую художественную литературу. Также все чаще родители задают себе вопрос: «<a href=\"http://askmama.ru/559-priuchat-rebenka-k-chteniyu-bumazhnyh-knig-ili-ridera.html\" target=\"_blank\">Приучать ребёнка к чтению бумажных книг или ридера?</a>»\nИдеальная книга\nАнализ высказываний респондентов в ходе дискуссий позволил исследователям создать идеальный образ книги. Главный индикатор качества приобретаемой литературы – отечественный автор, знакомый потребителям с детства. Размер издания по большому счету не имеет значения, потребитель различает «карманный и «обычный» варианты, предпочитая последний. Количество страниц в книге, по мнению респондентов, варьируется в пределах 30-100 для дошкольников и 50-250 для младших школьников. При этом многие участники дискуссий обращают внимание на то, что издания для младших школьников (прежде всего, учебная литература) должны содержать минимальное количество страниц, так как ребенок должен будет носить их с собой.\nЧитатели предъявляют завышенные требования к внешнему виду и оформлению книгопечатной продукции. Книга должна содержать информацию о том, для какого возраста она предназначена, иметь «красивый» дизайн, на лицевой обложке должен быть изображен основной персонаж и /или рисунок, отображающий основную содержательную концепцию книги. Говоря словами одного из интервьюируемых, «при первом взгляде на книгу должно быть ясно, к какому типу литературы она относится».\nНе менее высокие требования потребители предъявляют к полиграфии. Четкий яркий шрифт на белых страницах, высокохудожественные авторские иллюстрации являются одним из главных факторов выбора и покупки новинки. Цена имеет значение, но взрослые потребители «не экономят на детях», поэтому если книга «стоящая», даже в кризис вероятность покупки очень высока. Предпочтения по содержанию детских книг и жанрам являются индивидуальными и зависят от того, для каких целей книга приобретается. Что касается аннотаций, то они должны быть максимально краткими и отражать концепцию книги (т.е. в аннотацию не нужно включать отрывки из книги, какими бы привлекательными они не были).\nИдеальная коммуникация \nСледует отметить, что идеальной коммуникации с потребителями книгоиздатель построить не сможет, так как при выборе книги для детей они руководствуются, прежде всего, мнением и советами родственников и знакомых. Следует, правда, отметить, что большой вес имеет также и мнение воспитателей и учителей, которые все активнее формируют потребности детей в развивающей и обучающей литературе. Поэтому книготорговцам есть смысл сосредоточиться на работе с учебными заведениями и детскими центрами.\nЗначительно отстает по популярности реклама  в интернете и outdoor; третье место по эффективности занимают инструменты trade-marketing, например, стенды «Хит продаж» и т.д.\nОптимальный торговый объект\nНеожиданными для исследователей стали результаты интервью, посвященные местам покупки литературы для детей. Оказалось, что продвинутые и активные пользователи всемирной сети вовсе не доверяют многочисленным он-лайн магазинам, предпочитая традиционные книжные или книжные супермаркеты («Библио-глобус», «Дом книги» на Новом Арбате, «Книгомир», «Буква», «МДК»). Причиной преданности привычным форматам торговли оказалась серьезность отношения потребителей как к процессу покупки, так и к качеству приобретаемой книги: маме или бабушке важно не только получить максимально полную информацию об издании, но и подержать его в руках, пощупать бумагу, посмотреть картинки и соотнести свои ощущения с тем образом интересной детской книги, который они вынесли из собственного детства.\nК числу популярных у потребителей мест покупки также можно отнести специализированные магазины для детей и супермаркеты. Значительно уступают им торговые центры, книжные ярмарки и уличные лотки. Таким образом, он-лайн магазины оказались практически маловостребованными активными пользователями Интернета. Хуже «дела идут» только у торговли в метро и на почте, где издания для детей стоят дешево, но нет возможности тщательного выбора.\nТаким образом…\nВ отличие от общепринятых тенденций на книжном рынке, для потребителей детской литературы формат книги не имеет существенного значения. Большую значимость имеют полиграфические характеристики: размер шрифта и наличие различных игровых дополнений и иллюстраций для детей дошкольного возраста. Для многих потребителей критерием выбора детской книги является шрифт: чем младше ребенок, тем крупнее должен быть шрифт (среди конечных потребителей бытует стереотип, что крупный шрифт не портит зрение и помогает более эффективно обучать азам чтения, облегчает усвоение и запоминание материала). Для детей младшего школьного возраста становится важным содержание книги, так как потребитель осведомлен, что в возрасте 7-11 лет содержание книг рефлексируется ребенком и влияет на дальнейший образовательный процесс.\nСреди мотивов  к чтению у рассматриваемого сегмента преобладают рациональные компоненты, из которых наиболее важны воспитание, образование и развитие собственных детей. Большая часть потребителей предпочитают чтение собственным детям тех книг, с которыми сами знакомы с раннего детства и которые находятся в личной домашней библиотеке либо в домашней библиотеке родственников и друзей.\nНа общем фоне динамики рынка детской литературы перечень барьеров, препятствующих приобретению детской (в том числе) художественной литературы, не претерпел серьезных изменений с докризисного периода, демонстрируя видимую динамику только в возросшем ценовом давлении на сегмент. Это можно объяснить тем обстоятельством, что, не смотря на факт изменения и сокращения финансовых доходов у большинства респондентов, потребители предпочитают не экономить на собственных детях и не жалеют средств на приобретение тех изданий, которые считают полезными.\nМарина Ищенко, руководитель направления качественных исследований inF4Sense компании <a href=\"http://www.infolio-rg.ru/\" target=\"_blank\">inFOLIO Research Group</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:4aa8cf71b56175f6b3a1dee1ce3b214e' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Разговор книгопродавца с читателем \nСовременное книжное дело воздействует на книжный рынок, скажем так, не вполне позитивно. Прежде всего, книжное дело сконцентрировано в столице, и далеко не все регионы в состоянии «забирать» из Москвы полноценный, широкий ассортимент и распространять его на местах. Неравномерным является и платежеспособный спрос; кроме того, покупатель, как оптовый, так и розничный, редко умеет искать и находить информацию о тенденциях, книжных новинках, достойных авторах и проч. Крупные издатели художественной литературы часто ориентируются на раскрученные бренды и «громкие имена», которые обеспечивают быстрый и массовый спрос. Наконец, нельзя не сказать о том, что рыночные игроки имеют свое представление о критериях качества издания. Если мы привыкли считать качественной ту книгу, в которой художественный текст представлен в оформлении талантливого художника и достойном полиграфическом исполнении, то для издателей-бизнесменов качественной книгой является та, которая «соответствует запросам и отвечает ожиданиям потребителя в данной ценовой категории».\nРынок детской художественной литературы отличается от «взрослого» рынка более заметной степенью инертности: новые имена воспринимаются здесь очень тяжело, и многие издатели делают ставку на золотую классику. Кроме того, в детском секторе наблюдается заметный возрастной перекос: больше всего книг (половина литературно-художественных и две трети научно-познавательных) издается для дошкольного возраста. Отчасти в этом виноват и потребитель: книжки для малышей покупают практически все родители, даже самые неразвитые в культурном плане, а книги для подростков — уже далеко не все. И большая часть родителей в поисках книги руководствуется читательскими впечатлениями собственного детства и выбирает для своих детей «имена, проверенные временем».\nГрустно об этом говорить, но у нас сейчас среднестатистический покупатель детской книги довольно скверно ориентируется на рынке. Вполне здравые суждения чередуются у него с дикими заблуждениями; а хуже всего — когда ему известна только часть фактов, и на основании этой части он делает выводы относительно общей картины. Неудивительно, что выводы эти часто выглядят довольно-таки неутешительно.\nЧтобы нам стало веселее, попробуем отделить факты от заблуждений.\nНесколько правильных выводов \nНередко приходится слышать сетования о том, что «книг для детей на рынке слишком мало» . Это не что иное, как заблуждение ! Детской литературы на книжном рынке вполне достаточно. В последние годы литература для детей составляет 8-10% всего издательского книжного потока; этот показатель стабилен и вполне соотносится с тенденциями, характерными для ведущих книгоиздательских держав.\nНо беда в том, что книгораспространение у нас сейчас не на высоте. Советская система книжной торговли была разрушена, а создание новой — дело долгое, затратное и не выполнимое руками отдельных энтузиастов. Поэтому далеко не каждая книга быстро и целенаправленно приходит к своему покупателю. На рынке вообще книг очень много, но торговые пути иной раз настолько извилисты, что в отдельно взятом конкретном месте книг нет вообще, а если есть, то какие-то не те.\nЧасто говорят о том, что книги слишком дороги . Это, к сожалению, верно . В последнее время и особенно в последний год книги в рознице сильно подорожали (торговцы ссылаются на кризис и усердно поднимают цены). Если пять-шесть лет назад средняя стоимость детской книжки в московском магазине составляла рублей пятьдесят, то сейчас такая же книга в том же магазине может стоить двести пятьдесят, а то и все триста рублей.\nДа, за рубежом, в развитых книгоиздательских державах, книги еще дороже, но там интеллектуальный потребитель имеет, как правило, тот уровень дохода, который позволяет приобретать книги без ущерба для семейного бюджета. У нас же многие культурные потребители до сих пор вынуждены выбирать между еще одной книгой и продуктами на неделю.\nЖители столиц и крупных городов находятся в несколько более выигрышном положении. Есть места (так называемые книжные ярмарки), где книги значительно дешевле, чем в магазинах; а есть еще и уличные развалы, где любую книгу можно купить за сорок-пятьдесят рублей, и на этих прилавках попадаются порой сокровища, не оцененные широкой публикой. Гораздо менее утешительна ситуация на периферии. В сравнительно небольших городах, где пока сохранились книжные магазины, ассортимент обычно весьма «попсовый», а уровень цен не всегда соответствует уровню доходов потенциального покупателя. В сельских же населенных пунктах, как это ни грустно, количество книготорговых точек приближено к нулю. Наиболее продвинутые покупатели выходят из положения с помощью удаленного доступа: иногда книги в интернет-магазинах обходятся дешевле, чем в обычных торговых точках, однако почтовая пересылка весьма дорога, как и услуги курьеров, так что соблюсти свою выгоду покупателю нелегко.\nНайдется все! \nОпыт показывает, что на абстрактный запрос «пожалуйста, для ребенка что-нибудь» рядовой продавец отвечает плавным движением руки предположительно в сторону стеллажей, на которых «ничего нет». Если же покупатель приблизительно представляет, что ему нужно, и в силах сформулировать свои пожелания, продавец уже понимает, к какой полке его подвести; и хоть что-нибудь на ней да найдется. Если же покупатель заранее подготовится и выучит сколько-то фамилий, то количество книг , которые не стыдно купить, чудесным образом увеличится в несколько раз!\nНе доверяя собственной компетенции, потребители пытаются ориентироваться на мнение профессионалов — «о качестве книги может судить тот, кто ее изготовил, или тот, кто ее продает». Здесь ловушка! Во-первых, как мы уже отмечали, у издателя-бизнесмена и у читателя-любителя не совпадают представления о качестве. Во-вторых, игроки рынка занимаются получением прибыли, а не бескорыстным сеянием разумного-доброго-вечного.\nВажно помнить, что книжный рынок — это именно рынок, и книга на нем представлена как товар. Производители и продавцы товара заинтересованы в том, чтобы его продать. В ход идет реклама, придумываются пиар-акции, изобретаются способы воздействия на потенциального покупателя. Покупателями детской книги являются чаще всего мамы-папы и бабушки, и продавцы, естественно, пользуются их неосведомленностью и профессионально играют на нервах… извините, на чувствах.\nБдительный покупатель, как правило, не доверяет рекламе. Он понимает, что продавцы заинтересованы в получении прибыли. Но вот у этой медали, к сожалению, есть оборотная сторона. Книга, которую вам пытаются продать, может и вправду оказаться очень хорошей, просто замечательной во всех отношениях. Но вы откажетесь от нее, потому что привыкли отвергать всякий навязываемый товар.\nТак вот и получается, что многие родители выкладывают деньги исключительно за старую добрую классику, о которой сами имеют некоторое представление, и не желают раскошеливаться на что-то новое, неизвестное: а ну как обманут да подсунут бяку!\nКнига научит \nОсобенно часто паникуют молодые мамы, бабушки и тeтеньки-библиотекари: «Современные книги все плохие, безнравственные и учат плохому». Ход мысли у них примерно следующий: в современных книгах описывается современная жизнь — а современная жизнь вся безнравственна и полна соблазнов, — следовательно, современные книги безнравственны, полны соблазнов и безусловно вредны для юного, неокрепшего дитяти. Тот факт, что вышеупомянутое дитя знает сегодняшнюю жизнь не по книгам, а по своему непосредственному жизненному опыту, их как будто не касается: весь мир для них отдельно, а книги отдельно. Почему-то только книга в их представлении играет роль правильного учебника неправильной жизни: если ни телевизор, ни улица, ни семья и школа не научили ребенка плохому, то книга научит непременно!\nКонечно, это суждение людей, некомпетентных во многом, в том числе и в родительстве, и в собственной взрослости. Нормальный взрослый человек прежде всего знает, что никакая книга не способна научить чему-нибудь «в лоб». Воспитательное воздействие книги — такая тонкая материя! Нельзя сказать заранее, что именно западет читателю в душу и воздействует на нее. Кроме того, многое зависит от читателя: два разных ребенка могут воспринять один и тот же текст совершенно по-разному. Нет никакой гарантии, что читатель будет брать правильный пример с правильного героя. И нет гарантии, что читатель вообще захочет брать пример. Если же взрослые (писатель как воспитатель или сами родители) будут авторитарно навязывать ребенку модель поведения, то быстро убедятся, что третий закон Ньютона действует не только в физике, но и в педагогике.\nЕсли родитель желает бороться со звериным оскалом капитализма в книжной торговле, не жертвуя читательским развитием своего ребенка, то единственный способ победить — это тратить деньги с умом, действовать по принципу «доверяй, но проверяй», не скупать все подряд, а осмотрительно подходить к выбору книги.\nКлассики мы одноклассники \nК счастью, выбор есть. Многие «взрослые» издатели активно развивают «детские» проекты, иногда весьма неплохие. Что еще более отрадно — в этих проектах нередко участвуют живые, современные и весьма талантливые отечественные писатели и художники. Многие «детские» издательства также обращают внимание на современных авторов, причем даже и на тех, кто не пытается ориентироваться на массовые жанры и подлаживаться под массовый спрос. Как ни странно, на рынке наконец появилась реалистическая проза: без мальчиков-волшебников и девочек-чародеек, — и оказалось, что читатель, особенно школьник-подросток, очень заинтересован в подобной литературе, как отечественной (которой пока маловато), так и переводной. Что немаловажно, уже есть издатели, которые стараются повнимательнее следить за качеством переводов. Определенные достижения связаны с выпуском иллюстрированной книги, так называемой «книжки-картинки» (причем необязательно для малышей!) и «книги художника». И даже познавательный сектор в немалышовом сегменте дает вполне научную книгу, в том числе современную и отечественную.\nМы не случайно заостряем внимание на понятии современности. Классики — люди хорошие (некоторые), но не все, что обычно узнается из книг, можно узнать из классических сочинений. Современный читатель нуждается в собеседнике-современнике, который живет (или жил совсем недавно) в этом же самом мире, в окружении сегодняшних реалий и в книгах своих стремится разобраться с ними. Кто из писателей сегодняшнего времени умеет быть хорошим собеседником для читателя-школьника? Назовем хотя бы несколько имен.\nМарина Москвина живописует мир эксцентричных чудаков, абсолютно свободных — необязательно счастливых, но всегда устремленных к счастью: «Мы живeм хорошо, задавленные делами и неприятностями». Погружая своих героев в пучины отчаянного фарса, Москвина дарует им возможность очиститься, как если бы с ними состоялась античная трагедия. Из любой мелочи писательница способна создать вселенскую катастрофу, чтобы потом возвыситься над ней, потом махнуть рукой, расхохотаться и утонуть в безграничной любви ко всему что ни есть: «Как хорошо жить на свете, когда знаешь, что жизнь бесконечна!»\nПоэт и прозаик Артур Гиваргизов оригинально работает на сочетании безукоризненной логики развития сюжета с эффектом обманутого ожидания. Он никогда не писал нарочно «для детей» — его сочинения предназначены читателю любого возраста, готовому вступить в контакт с литературой, в тот культурный диалог, к которому приглашает писатель.\nСказки-притчи Сергея Седова открывают нам мир с самой неожиданной стороны — многие из нас даже не подозревали, что такая сторона вообще существует. В юмористических приключениях его персонажей — мальчиков и девочек, королей и принцесс, дураков и чудаков, драконов и мягких игрушек — мы видим отражение абсурда нашей жизни; но здесь же — и пути выхода из абсурда, способы преображения его в логичность и убедительность простого человеческого счастья.\nАндрей Усачeв – словесник, счастливо одаренный той филологичностью, которая позволяет ему профессионально работать со словом в любом случае — по велению души и по просьбе издателя. Нет такого слова или явления, на котором он не смог бы построить смысловую игру, участие в которой обогащает и автора, и читателя.\nК стихотворениям Марины Бородицкой в полной мере применима классическая формула поэзии — «наилучшие слова в наилучшем порядке». Детские стихи Бородицкой — это свободная, убедительная интонация живого разговора, творческая «детскость», то есть доверчивость, открытость, свежесть мысли и непосредственность чувства. К слову, Бородицкая еще и блестящий переводчик: ее имя, стоящее на книге, приравнивается к «знаку качества».\nМихаил Яснов (тот самый, что написал про Чучело-Мяучело и про Чудетство) играет словами, смыслами и фантазиями, и читатель, увлеченный игрой, сам становится творцом и немножко поэтом — сердечным, добрым и внимательным ко всему. Добавим к сказанному, что Яснов — тоже выдающийся переводчик, ответственный за каждое слово.\nКниги перечисленных авторов неплохо представлены сегодня на рынке. Москвина издаeтся в «Гаятри»/«Лайвбуке», причем в иллюстрациях Сергея Тишкова. Седова любят не только в «Самокате», но и в «Гаятри» и «Априори-Пресс». Книги Гиваргизова есть в «Эгмонте», у «Самоката» и «Дрофы Плюс». Усачев издается в «Эгмонте», «Времени», у Мещерякова.\nЧто касается поэзии вообще, то наиболее заметный современный проект — «Поэтическая серия» издательства «Самокат», адресованная в целом читателю среднего школьного возраста («Мы так похожи» Артура Гиваргизова, «Прогульщик и прогульщица» Марины Бородицкой, «Пусть бегут Неуклюжи» Александра Тимофеевского, «Собиратель сосулек» Михаила Яснова, «Я был в стране чудес» Михила Грозовского и др.).\nДраматургия в «детском» секторе представлена именами того же Гиваргизова («Контрольный диктант и древнегреческая трагедия» — «Самокат») и Ксении Драгунской («Целоваться запрещено» — «Астрель»).\nИллюстраторы современной детской книги — предмет отдельного разговора. Если же нам нужен пример художника, в лице которого сочетаются авторское своеобразие, творческая оригинальность и рыночная востребованность, назовем Николая «Миколу» Воронцова, который работал с текстами Олега Григорьева, Сергея Седова, с переводной юмористической прозой для школьников (в рамках проекта «Самая прикольная книга» в питерском издательстве «Азбука»). Воронцов продолжает и развивает традиции интеллектуальной книжной графики, адекватной стилю и содержанию текста, осмысляющей и обогащающей его содержание, украшающей его восхитительно смешными подробностями.\nОтважных издателей, готовых делать ставку на новые имена и нестандартные направления, у нас немного — но они есть. Далеко не все они делают погоду на «большом» рынке, но в детском секторе, в сегменте «для тех, кто понимает», эти издатели уже заслужили и уважение коллег, и признательность читателей. Так что подготовленный потребитель, осмысленно выбирающий чтение для своих детей, имеет возможность целенаправленно анализировать массовый книжный рынок, ориентироваться на нем, зная, что временные (да и денежные, впрочем) затраты окупятся и результат оправдает ожидания.\nМария Порядина, источник: pravmir.ru\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:70a1d50b3680df3717a9f5e6e630ffd2' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'В последнее время складывается впечатление, что в одном из сегментов нашего не самого благополучного книжного рынка, а именно в детском, происходит неожиданное оживление. Открываются независимые магазинчики вроде облюбованного детскими издательствами «Додо» или «Лавочки детских книг», а прошедший недавно во второй раз «Бу!Фест», который изначально позиционировался как фестиваль маленьких независимых издательств вообще, по нашим наблюдениям, практически превратился в фестиваль детской книги. \nOPENSPACE.RU задал представителям нескольких небольших издательств, специализирующихся на детских книгах, два вопроса: \n1. Действительно ли на фоне кризиса наблюдается оживление, чем оно объясняется и как поживаете именно вы? \n2. Что вы издаете и что у вас лучше всего покупают?\nМария ВАЙСМАН, издательство «Август»\nДело в том, что сейчас книг стало очень много, значительно больше, чем когда мы начинали это дело. Мы сто лет выкручивались непонятно как, книжки с трудом брали в магазины: просто не понимали, что это такое. Первые книжки я отдавала буквально за копейки, потому что надо было все это расшевелить. С новой моей книгой таких проблем уже нет: сейчас, наконец, уже все нас берут, появилось большое количество интернет-магазинов и книготорговых фирм, и дружественные издательства продают мои книжки тоже. Сейчас грех жаловаться на распространение: книжки уходят стремительно. Я даже боюсь, что сейчас старые закончатся: тогда не знаю, чем мы, собственно, будем торговать. Славу-то нам принесли книги, которые вышли в двухтысячном году. Из-за них мы до сих пор и держимся на рынке, потому что их спрашивают, очень любят и требуют переиздания. А наскрести на новое издание очень сложно. Я просто на последних книжных мероприятиях сделала вывод, что нет никакого смысла печатать наши книжки дешево: у нас ничего не получится, это будет некрасиво.\nМы с трудом издаем по одной книжке в год — то вместе с каким-нибудь банком, как книгу «Русские поэты для детей и взрослых», то просто на собственные деньги. У нас есть портфель книг, совершенно готовых к изданию, вопрос упирается только в деньги. Мы подали, наконец, на финансирование, вот сейчас жду — может быть, нам в Агентстве по печати дадут какую-то помощь. \nАлла НАСОНОВА, издательство «Детгиз»\nНу, в Москве, видимо, немножко наблюдается оживление, чего нельзя сказать о нашем городе (Петербурге. — OS), где мы по-прежнему практически одни издаем детскую книгу. В Москве открылся — что вы, может быть, и заметили — ряд маленьких, но гордых издательств, которые немного, но тоже издают какую-то приятную, культурную, внешне интересную и иногда интересную по содержанию книгу, как то: «Самокат», «Розовый жираф», «Априори», Издательский дом Мещерякова, «Сова» и так далее, — до десятка новых гуманитарных, как я их называю, детских издательств. Это не ширпотреб, а попытка возродить в России искусство детской книги. К сожалению, большинство из них переиздают в основном западную книгу, тиражируют ее на Россию и за счет этого кормятся. А все-таки мало усилий прикладывают к изданию отечественных авторов, и прежде всего — хорошей отечественной иллюстрации, высокого стиля, так сказать. Лучших графиков и так далее. Вот этого пока недостаточно, и над этим мы, в свою очередь, по мере своих слабых сил в Петербурге пытаемся работать. На самом деле в стране, очевидно, не хватает хороших книг для чтения, современной литературы по доступным, дешевым ценам. В стране и даже в Москве с Петербургом читающим детям отчетливо не хватает просто книжек, которые можно читать. \nВсе, что выпускает наше издательство, замечательно продается, когда мы стараемся сделать хорошую современную иллюстрированную книгу для читающих детей. И недорогую. Это все книги, которые мы выпустили с 2005 года; я бы сказала, мы почти ни разу не промахивались. Правда, мы не так много выпускаем, мы сейчас маломощное и небогатое издательство. Пятнадцать — двадцать книг в год, понимаете? Если бы еще десять издательств выпускали хотя бы по двадцать книг в год, все вместе мы бы восполнили те двести книг, которые в свое время при советской власти выпускал один наш «Детгиз» и которых хватало советским детям, чтобы сформировался круг чтения. Десятью книгами в год ты читающего ребенка не удовлетворишь и пятнадцатью тоже. Тем более что эти наши пятнадцать — книжки для всех возрастов: три для малышей, четыре для подростков и так далее. Ну не четыре же книги подросток в год должен читать, правильно?\nИрина БАЛАХОНОВА, издательство «Самокат»\nЧто касается «Самоката», то нам, наверное, в последний год стало попроще, потому что мы перешли рубеж пятидесяти книг. Знаете, когда у издательства есть пятьдесят книг и оно еще что-нибудь делает, оно становится не очень легко потопляемым. Конечно, было очень плохо в начале 2009 года — вообще не знаю, как мы пережили эти три-четыре месяца. В тот момент у двух из трех малых издательств, если речь шла о внешнем финансировании, каком-то спонсорстве, четко стоял вопрос: а надо ли дальше вкладывать деньги? Люди были реально настроены на закрытие бизнеса. Но даже у издателей-собственников опускались руки. И в общем только то, что эта кризисная ситуация продлилась не очень долго, и спасло наш «Самокат». С тех пор стало получше, хотя все еще хуже, чем в 2008 году. \nМы все как-то консолидировались. Мы и раньше ходили вместе на выставки, делились информацией. Но в этой ситуации с кризисом все маленькие издательства вдруг поняли: ну невозможно так зависеть от крупных сетей. Мы и так-то в общем несколько сомневались в их работоспособности, но нам казалось, что они плохо продают именно нас, потому что мы не «АСТ»: как-то они без нас могут. А оказалось, что они и в принципе не очень жизнеспособны. Когда «Топ-книга», при том финансировании, которое она имела, показала, что толком не может выжить… Они наши книги никогда особенно не продавали, а тут, возможно, чисто психологический момент сработал — люди посмотрели и сказали: ну боже ж ты мой! Нам казалось, что это мы такие плохие, недостойны регионов, а дело совсем в другом! Теперь работаем с альтернативными точками в регионах, их появляется все больше. Одновременно стало как-то очень ясно, что «работающих» больших магазинов в Москве в лучшем случае тридцать штук, в худшем — пять, в Питере тоже где-то парочка («Буквоед» тогда нами не интересовался), и, чтобы выжить, надо как-то активизироваться. И все активизировались: вдруг начали появляться маленькие книжные, многие издатели даже стали создавать свои точки. Так возник, например, «Додо» — замечательное место; «Лавочка детской книги», с маленькими, как бы домашними детскими; интернет-магазины хорошей детской литературы, такие как «Волшебная лавка». Как-то единомоментно возникли новые книжные выставки — среди них замечательный «Бу!Фест». Еще до кризиса возникло и в кризис расцвело буйным цветом немало вообще некнижных площадок вроде фестиваля «Афиши», фестиваля Seasons, где мы хорошо торгуем.\nТак уж получилось: детский сегмент в литературе в отличие от всех остальных, как оказалось, наименьшим образом пострадал от кризиса. И, как это ни удивительно, на рынок наряду со специально сделанными «под кризис» недорогими книжками хлынули дорогие детские издания. И их вполне покупают; на мой взгляд, больше, чем дешевые. Так что все неплохо. Только вдруг стала ощущаться большая, чем в прошлые годы, склонность к консерватизму, но это, наверное, естественное явление кризисного периода. Я имею в виду потребность в классике. Но пока всё в пределах нормы. Если такое продлится еще года два-три, можно будет говорить о некоей стагнации в развитии детской литературы в России, но пока рано.\nНесколько лет назад «Самокат» вместе с книготорговой фирмой «Гранд-Фаир» и библиотекой имени Гайдара стал инициатором нового методического каталога под названием «Сто лучших книг, которые должны быть в каждой библиотеке». Чтобы библиотекари — в частности, в регионах — знали, что существует «альтернативная» (просто новая, качественная) детская литература. А в этом году у нас был большой конфликт. Потому что я настаивала, чтобы в каталог вошла «Стена» Петра Сиса, получившая Гран-при на самой престижной в мире детской книжной выставке в Болонье (Италия), а затем еще 20 международных премий в разных странах (это книга «Самоката», что сильно затрудняло мое положение), — единственная в своем роде книга о жизни в послесталинский период в странах соцлагеря. Но в экспертном совете все, кроме меня, были против, и никакие аргументы — ни пресса, ни премии — не помогли. Очень надеюсь, что мы договоримся о создании в каталоге раздела «Книги, о которых спорят» и поставим «Стену» туда. Конечно, мы продадим книжку и так, первый тираж ее невелик. И даже переиздадим, потому что в ней наверняка будет потребность — книгу отлично принимают дети и подростки. Но все равно жаль, что люди, которых ты уважаешь и которым доверяешь, оказываются порой не в состоянии преодолеть собственные — реальные, надуманные? — страхи. Особенно если эти люди призваны работать с детьми. \nМарина КОЗЛОВА, издательство «Розовый жираф»\nНе могу сказать, что в последнее время стало лучше, но однозначно не стало хуже. Пожалуй, с момента, когда объявили кризис, на последней non/fiction впервые было чувство, что опять пришло сильно больше людей, чем мы ожидали, что все возвращается.\nДело в том, что мы работаем с читателем индивидуально, чего не может позволить себе большое издательство. Несмотря на то что я директор издательства, я сама торгую на каждой выставке, для меня важно поговорить с людьми и понять, что им нравится, что не нравится: это дает неплохие результаты. Все эти маленькие выставки, которых в последнее время много (тот же самый «Бу!Фест» или выставка Ad Marginem, которая будет сейчас на «Фабрике»), нас очень радуют просто потому, что дают нам возможность посмотреть своему читателю в лицо. \nЛюди обычно покупают или те книги, которые они читали в детстве, или те, которые им понравились, потому что лежали на виду. Очень много книг таким образом оказывается за бортом. Наша задача рассказать, что хороших книг множество, и не стоит останавливаться на том, что вы читали в детстве: вполне возможно, что ваши дети просто живут в другой реальности.\nНаверное, самый главный наш хит — это книга Стивена Хокинга \"Джордж и тайны Вселенной\", первая часть трилогии. На мартовской выставке мы представим вторую книгу из этой серии, «Джордж и сокровища Вселенной». Еще, к нашему большому удивлению, совершеннейшим хитом по продажам стала книга, которую мы издавали, как нам казалось, просто для себя. Это «Замечательная книжка» Далласа Клейтона — книга про мечты. На наш взгляд, удивительная, но нам казалось, что она совсем не пойдет здесь, что она не для нашего читателя и найдется двести человек, которые сойдут от нее с ума, а остальные не поймут. Но мы ошиблись — она просто разлетается сейчас. \nМарина КАДЕТОВА, «Компас Гид»:\nУ нас в издательстве временно произошло затишье из-за разных проблем с правами, но это чисто технические проблемы, а так мы очень активно собираемся издавать книжки. Что касается ярмарки, то для такого маленького издательства, как мы, выпустившего пока всего три книжки, продажи на ярмарке на удивление довольно хорошие. Но в основном, поскольку издательство новое, для нас ярмарки — повод познакомиться с читателями, показать свои книжки и лично рассказать людям, что это такое и кто мы такие.\nМы хотим издавать книги для подростков, для молодежи, направленные на развитие толерантности, но не совсем уж тупо и прямолинейно. Это должна быть хорошая подростково-юношеская литература, но с каким-то универсальным, общечеловеческим гуманистическим смыслом. Ну и просто интересные книжки для чтения. А второе наше направление — это книжки-картинки, которые при небольшом объеме текста могут донести какие-то совершенно потрясающие мысли. Но как раз не для малышей, а скорее для молодежи. Книжки-подарки, может быть, такие милые и забавные, которые можно подарить друзьям по поводу и без повода.\nВадим ТИТОВ, издательство «Машины творения»\nОживление происходит давно, просто сейчас оно стало заметно. Это связано с тем, что мы стали объединяться. Мы давно взаимодействуем, выходим вместе на книжные ярмарки, рекомендуем друг друга. Тем более что часто наши книги не пересекаются по возрастам: одни издают для малышей, другие — для подростков. Скажем, «Розовый жираф» рекомендует читателю нас, а мы отправляем его к «Самокату». Так и живем — читатель-то у нас один, и у всех нас дети растут на книжках всех наших издательств. Известно, что оптовикам неинтересно работать с мелкими игроками на рынке, поэтому мы очень активно работаем с розницей. Ни одно крупное издательство не продает столько книг само, напрямую, с рук, сколько продаем мы все. Это и ярмарки, и интернет-заказы, и выездная лоточная торговля, и мероприятия в независимых магазинах, и так далее.\nВосемьдесят процентов продукции нашего издательства — детские книжки с картинками, а наибольшей популярностью пользуется, конечно, «Груффало» Джулии Дональдсон в переводе Марины Бородицкой и Григория Кружкова. В этом году мы собираемся продолжать эту серию.\nИсточник: OPENSPACE.RU\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:048c7eeb6f2c117fbf64f69fd147cc05' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Заглядывая в детские отделы книжных магазинов, замечаешь тенденцию последнего времени: издатели стремятся разделить детскую литературу на книги для мальчиков и книги для девочек, причем последних на прилавках неизмеримо больше. Мы давно уже не удивляемся засилью дамских романов, они хорошо раскупаются и приносят издателям стабильный доход.\nЕще лет десять назад, удивляясь бессмысленности и примитивизму этого сегмента литературы, мы спрашивали себя: \"Для кого это пишут? Кто все это читает?\" Сегодня на этот вопрос ответить гораздо проще: читают, и очень многие, не из-за какой-то особой терапевтической или, как нам даже пытаются внушить, физиологической потребности женщин в таком чтении, нет. Читают именно потому, что к такому чтению приучали с детства. Читательница дамского романа — лишь вершина, итог многолетних усилий книгоиздателей: ему предшествует долгая и планомерная работа по выращиванию будущей матерой потребительницы \"женского чтения\".\n<h3>От 0 до 7</h3>\nСегодня книгоиздательства стремятся растить своего читателя, в особенности читательницу, буквально с колыбели в прямом смысле слова. Вначале поле засевается книжными сериями типа \"Колыбельные для девочек\". Все их отличие от мальчуковых состоит в том, что вместо \"Ванюша\" поют \"Танюша\". Затем для читательниц от трех лет предлагаются книжные серии вроде \"Первые слова девочки\". Родителям внушается мысль, что, если ваша девочка вместо \"мама\", \"кукла\", \"бабочка\" говорит что-то другое, это неправильная девочка. На самом деле издатели сами заинтересованы в формировании такой нормы, опасаясь, по-видимому, что неправильная девочка, когда вырастет, не будет читать дамских романов.\nДалее, после трех, следует читать \"Сказки для девочек\". Взрослый человек, знакомясь со сборниками сказок, будет немало удивлен, обнаружив, что, оказывается, \"Мальчик-с-пальчик\", \"Оловянный солдатик\", \"Кот в сапогах\" — это мужское чтение, а \"Золушка\", \"Красная Шапочка\" и \"Русалочка\" — сугубо женское. Следуя этой логике, в \"женские сказки\" нужно включить и сказку Андерсена \"Что муж не скажет, то и хорошо\": это будет педагогически верно! Другое дело — \"Жены Синей Бороды\". Я долго думала, какой урок могли бы вынести \"добрые молодицы\" из этой трагической истории? Впрочем, в книжке для мальчиков она смотрелась бы еще более жутко!\nСоставители детских сборников с ярлыками \"М\" и \"Ж\", точнее, \"М\" и \"Д\", руководствуются в первую очередь половой принадлежностью главного героя. Мальчики налево, девочки направо; одним — \"про колдунов и принцев\", другим — \"про фей и принцесс\". Наследие братьев Гримм, Шарля Перро и Ханса Кристиана Андерсена книгоиздатели уже давно разодрали на две части (непонятно, правда, на кого работал последний, когда придумывал таких странных персонажей, как штопальная игла). Такая маркетинговая политика (деление произведений писателя по половому признаку) вполне объяснима как желание издателей сэкономить или придумать очередной бренд, привлечь новых покупателей.\nНепонятно только одно: почему мальчики и девочки должны идти в сказочный мир разными, нигде не пересекающимися дорогами. Создание сказочных резерваций — затея сомнительная и даже губительная для детской психики: ребенка таким образом подсознательно убеждают, что существа противоположного пола — люди с другой планеты. Что у них все другое, даже книжки, даже сказочные герои... Вырастет такое дитя и побежит записываться на психологические тренинги, чтобы найти взаимопонимание с этими \"загадочными\" существами. А может, всего-то и надо было читать в детстве одни и те же <a href=\"http://detskie-skazki.com\">детские сказки</a>?\nК счастью, никто еще не отменял такое понятие, как \"сопротивление материала\". Ну, назовете вы, допустим, \"Денискины рассказы\" Виктора Драгунского \"озорными историями для мальчиков\". А этот самый Дениска возьмет и разревется, как девчонка, от жалости к старому плюшевому мишке, которого экономные родители предложили использовать вместо боксерской груши. Для мальчиков это рассказ? Для девочек? Скорее всего для тех, кто понимает...\n<h3>С корабля — на фейскую вечеринку!</h3>\nЖенское интернет-сообщество проблему \"девчачьего чтения\" обойти своим пристальным вниманием никак не могло. На сайте Ourgirls.ru опубликована статья филолога Марии Дюжаковой. Она пишет: \"Книги для девочек важны не столько действием, сколько чувством... Если цветочек — то аленький, принц — прекрасный, конь — златогривый, а паруса — алые\". Словом, подсознательно закладывается представление, что девочка — это набор пошлостей. Напоминать о том, что не \"кони златогривы\", к примеру, а неказистый конек-горбунок принес удачу своему хозяину; что не прекрасного принца, а страшное чудище полюбила Настенька (за верность которому и была вознаграждена), бесполезно. Массовое чтение рассчитано на \"среднего читателя\", которого сами же книгоиздатели и формируют с малолетства.\n\"Все девочки мечтают стать принцессами\" (вариант: феями) — издатели берут на вооружение расхожий стереотип и понеслось. Если ты фея, то для тебя — \"Приключения серебряных фей\", \"Полеты с фиолетовой феей\", \"Моя самая прикольная книжка. Стильные советы, как устроить фейскую вечеринку\", книжки и журналы про Wings и т. п. Если ты принцесса — твой выбор поистине безграничен: \"Дневник принцессы\", \"Тайны московской принцессы\", \"Барышня и два принца\", \"Истории о первой любви для маленьких принцесс\", \"Что надо знать о принцах?\" (как выясняется, всего-то и надо знать, что принцы бывают: А. Плохие. Б. Хорошие. В. Заколдованные — это на самом деле пункт А, имеющий шанс перейти в пункт Б.\nСуществуют ли противоядия против этой клишированной заразы? Сражаясь с приторно-сладким образом девочки в литературе, Астрид Линдгрен давным-давно сочинила свою \"Пеппи Длинный-Чулок\". Генрих Сапгир поиграл в \"гламур наоборот\", написав известное стихотворение про ужасную принцессу и людоеда, отказавшегося есть такую гадость. Есть, наконец, в мировой литературе \"Козетта\", \"Хайди\" (последнюю Марина Цветаева числила среди своих самых любимых детских книг). Мамам же, не скупящимся на дорогостоящие альбомы \"Как стать принцессой\", в качестве отрезвляющего стоило бы почитать жесткую \"Книгу принцесс\" Людмилы Петрушевской.\n<h3>Большие тети о \"маленьких женщинах\"</h3>\nНо вот наши девочки немножко подросли. Проверенных временем \"Робинзона Крузо\", \"Тома Сойера\", \"Всадника без головы\" и \"Пятнадцатилетнего капитана\" им не предлагают по определению — это чтение для мальчиков. А наших героинь лет с 8-10 приучают к тому, что они — \"маленькие женщины\" (есть такая серия в одном уважаемом издательстве; справедливости ради надо признать, что на фоне других эта серия наиболее читабельна).\nНо не будем ханжами: действительно, в определенном возрасте мальчишеские игры уже не кажутся девочкам такими соблазнительными, как героине катаевского \"Цветика-семицветика\", и они действительно испытывают потребность в \"своей\" литературе. Только где же она? Еще в начале ХХ века Корней Чуковский называл \"фабрикой ужасов\" не готические повести о призраках и вурдалаках, а книги очень популярной в то время у девочек Лидии Чарской, набившей руку на описаниях смертельных болезней, пожаров, разбойничьих нападений, обмороков и конвульсий. Впрочем, полистай Чуковский современных последовательниц Чарской, он, может быть, и пощадил бы несчастную писательницу. В современных сериях \"только для девочек\" и чувств-то маловато, они создаются по принципу \"одна книга — одна проблема\" (\"новенькая в классе\", \"лучшая подружка уехала далеко\", \"тяжело быть старшей сестрой\", \"когда родители разводятся\" и т. д.).\n<h3>\"Маленькие женщины замужем\"</h3>\nНа заключительной стадии подготовки \"правильных\" читательниц предлагаются \"любовные романы для девочек\". Они подразделяются на множество типов: школьные (\"Любовник из 9 \"Г\"\"), летние (\"Отдых на море обещал быть классным, если бы не высокомерный Юра!\"), астрологические (\"Инка не верила в астрологию, пока...) Если что и отличает язык этих романов от взрослых \"лав стори\", так это сленговые междометия \"ну, клево\", \"ну, круто\", \"ну, зашибись\". Как ненавистен должен быть некоторым издателям Дж. Барри, придумавший \"Питера Пэна\" — мальчика, не желавшего взрослеть, да еще соблазнявшего своей упаднической философией девочку Венди! Ведь юным читательницам нужно как можно скорее расстаться со своими детскими фантазиями и стать похожими на взрослых тетенек, для которых понаписано столько прекрасной макулатуры!\nВпрочем, и классику еще никто не отменял. Пушкин — наше все, ученье — свет, а неученье — тьма... Недавно в Доме книги на Арбате я чуть не прослезилась. Издательство \"ЭКСМО\" запустило серию \"Классики о любви для девочек\". Милые книжечки небольшого формата, а на обложке все ленточки, ленточки... Одна из них называется: \"А. С. Пушкин. \"Капитанская дочка\"\". По логике, для мальчиков следовало бы запустить серии \"Классики о войнушке\" (М. Ю. Лермонтов. \"Бородино\") или \"Стрелялки для пацанов\" (А. С. Пушкин. \"Евгений Онегин\"). А столько еще чудных проектов можно придумать на классическом материале — с обязательным делением классики на М и Ж! \"Понимаю, что должны быть мужские и женские туалеты. Но к литературе это, по-моему, не подходит\",— говорила Анна Ахматова. Лучше и не скажешь.\nМарина Щукина, журнал \"Огонек\"\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:97b834f39718ce9802893e6fa7fefa8c' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Прежде чем зарегистрировать «Самокат», долго выбирали из 200 названий, придуманных вместе с детьми. Сразу же решили выпускать переводные книги, бывшие когда-то бестселлерами за рубежом и хорошо продающиеся не один год. Ирина некоторое время жила в Швейцарии, неплохо знала французскую литературу. «Поляна» в России была пуста: франкоязычной литературой тогда никто не занимался, добавляет Балахонова.\n<h3>Старт на «Собаке»</h3>\nУ девушек было $4000 собственных сбережений, но на издание книги этого не хватало. Тогда они обратились к организаторам программы «Пушкин» (она поддерживает издание франкоязычной литературы и в каждой стране называется по-своему). «Мы сказали, что сотрудничаем с переводчицей Натальей Шаховской, это имя знали, и в 2003 г. нам выделили еще 2000 евро», — объясняет Ирина. Около $3 млрд — так оценил объем российского книжного рынка в 2008 г. Александр Воропаев, начальник отдела книжных выставок и пропаганды чтения Федерального агентства по печати и массовым коммуникациям. С 2003 г. рынок вырос на 87%. Однако серьезных книг не хватает: под маркой детской литературы выпускается немало ширпотреба — «страшилок» или пустых детективов с незапоминающимися авторами, сетует Алексей Маркевич, директор издательства «Центр Нарния», которое, как и «Самокат», было зарегистрировано в 2000 г. В 2003 г. вышла первая книга «Самоката» — «Собака Пес» Даниэля Пеннака. Она стала настоящим открытием для читающей публики: издательниц пригласили на радио «Эхо Москвы». После этого прошел цикл передач — радиожурналист Сергей Бунтман читал «Собаку» в эфире. Такая удача на старте поддержала девушек. Первое время они работали только на энтузиазме. «У нас не было денег, связей и знания издательского бизнеса», — уверяет Ирина.\n<h3>Уроки экономии</h3>\nВ 2003 г. оборот «Самоката» составлял всего $10 000. Серьезно тормозили развитие дела отсрочки платежей — в издательском бизнесе они могут длиться от 60 дней до года. Чтобы заработать, пришлось учиться экономить на мелочах. Поначалу обходились без офиса, позже благодаря знакомым нашли недорогой подвал на Сухаревке. Первое время издательницы все делали вдвоем, потом наняли стажеров из полиграфического института, и те работали бесплатно. Когда узнали, что в ярославской типографии пропадает неформатная бумага, решили специально под нее сделать поэтическую серию: получились узкие книжки как раз в ширину стиха, говорит Ирина. Удалось сэкономить на бумаге 25%. К 2006 г. стали выпускать по книге в месяц. Издали авторов из Италии, Финляндии, Швеции, Австрии, Норвегии. Отыскали интересных писателей и в России. Большой поддержкой стали гранты, а позже — продажа издательских прав за рубежом. «Самокату» удалось завоевать пусть небольшую, зато мыслящую аудиторию, считает Варвара Горностаева, главный редактор издательства Сorpus.\n<h3>Как пройти в библиотеку</h3>\nКогда «Самокат» вышел на рынок, тот уже был поделен между гигантами — АСТ, «Эксмо», «Дрофой», «Махаоном» и др. Обычно книжные магазины отказываются работать с мелкими издателями, но благодаря передачам на радио для «Самоката» сделали исключение Московский дом книги и «Библио-глобус», вспоминает Балахонова. Пятитысячный тираж «Собаки» разошелся за год. Тогда же издательство попыталось войти в розницу, начав работать с дистрибуторской компанией Berrounz. «Главная проблема малых издательств в том, что они не могут встроиться в систему распространения, — говорит Горностаева. — Но посмотрите, что творится возле их стендов на выставках, как расхватывают их книги!» «Самокат» первым из молодых детских издательств начал «воспитывать» систему распространения, ориентированную на ширпотреб«, — отмечает Николай Охотин, гендиректор дистрибуторской компании Berrounz. Позже подключились «Розовый жираф», Издательский дом Мещерякова, «Открытый мир», «Машины творения». Конкурентное преимущество «Самоката» — авторы для интеллектуалов, необычно изданные книжки — одновременно и источник самых больших трудностей, считает Охотин. Такие книги боятся включать в ассортимент и дистрибуторы, и крупные сети вроде «Буквы» (принадлежит АСТ) и «Нового книжного» (принадлежит «Эксмо»). На полки удается попасть только через третьи руки, из-за чего цена книжек становится неподъемной для покупателей, жалуется Маркевич из «Центра Нарния». И все же надо было как-то пробиться к читателям. В Москве «Самокату» удалось проникнуть в некоторые магазины, в регионах дела обстояли хуже. И издательницы решили завоевать провинцию через библиотеки. Они ездили по стране, придумывали необычные мероприятия для библиотек. Организовали ралли на самокатах, которое проходит в разных городах (последний раз — на Дерибасовской в Одессе). Расчет оказался верным: к 2008 г. более 50% продаж «Самоката» приходилось на библиотеки. А оборот достиг $363 000. «Для нас это хороший результат», — улыбается Ирина.\n<h3>Держаться вместе</h3>\n«Маленьким труднее приходится в кризис, когда неплатежи стали распространенным явлением, — объясняет Нина Литвинец, исполнительный вице-президент Российского книжного союза. — Если магазин не заплатит 50 000 руб. “Эксмо”, оно этого не заметит, а небольшие компании могут не пережить». Вот почему малые издательства держатся вместе. Продают книги друг друга в своих офисах — например, в «Розовом жирафе» можно купить издания «Самоката», «Машин творения» и др. Чтобы оптимизировать расходы, вместе снимают выставочное пространство, в кризис начали организовывать совместную логистику, объясняет Балахонова.\n<blockquote>Сколько их Всего на рынке работает 1280 издательств, выпускающих хотя бы одну книгу в месяц, подсчитали в Федеральном агентстве по печати и массовым коммуникациям. Но издательств, специализирующихся на детях и активно работающих, не больше 15, говорит Николай Охотин, гендиректор дистрибуторской компании Berrounz.</blockquote>\nЕлена Горелова Источник: <a href=\"http://www.vedomosti.ru/newspaper/article.shtml?2009/06/01/198167\" target=\"_blank\">Ведомости</a> .\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:b1cfc9d06929459b2f345ef11b3d2581' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '<h2>Идеальная книга для дошкольников</h2>\nИтоги фокус-группы, в которой принимали участие женщины 20-65 лет.\n<h3>Мальчики и девочки</h3>\nПрежде всего, родители хотели бы видеть в книге помощника, который бы смог сформировать у ребенка представление о своем месте в семье, адаптировать к жизни в социуме, сформировать личностные качества. На дошкольном этапе родителям важно объяснить ребенку различия социальных ролей мужчин и женщин. Участники дискуссий почти единодушно отметили, что девочка должна научиться помогать по хозяйству и выполнять работы по дому. Ожидания в отношении мальчиков много шире - они должны уметь делать «мужскую работу», быть сильными, но в то же время не агрессивными, помогать слабым и быть «настоящими мужчинами». На данный момент нет специальных книг для дошкольников, которые помогли бы им изучить социальные роли. Поэтому развитие этой темы в литературе представляется перспективным.\nРисунок 1. Стратегические воспитательные цели как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh1.jpg\" />\nАльтернативой такого решения могли бы стать книги, которые отражали бы слияние и перераспределение социальных ролей мужчины и женщины. Это могло бы позволить, по мнению участников групп, без конфликта с действительностью объяснить ребенку реальное положение вещей.\n<h3>Читаем, играем, говорим</h3>\nПо мнению большинства мам и бабушек, принявших участие в фокус-группах, одна из главных задач воспитания детей в возрасте до семи лет - подготовка к школе. Ребенка в это время стараются обучить счету, чтению, различению цветов и, реже, письму. Однако наиболее сложной проблемой родители все же считают постановку речи. Привитие этого навыка в большинстве семей происходит благодаря чтению любимых книг, вплоть до запоминания наизусть и пересказов сюжетов. В ходе групповой дискуссии был указан оригинальный способ, также способствующий развитию речи. По мнению одной из бабушек, ребенку нужно предлагать игры, где ему пришлось бы перебирать маленькие вещи, возиться с небольшими по размерам деталями и т.д. Что-то подобное предлагают и физиологи, утверждающие, что для формирования навыков «сложной» речи необходимо развивать мелкую моторику рук и мускулатуру пальцев. На основе этой теории можно было бы создать новый тип книги, в котором были бы не только традиционные листы с печатной информацией, но и игровые приложения или вставки с мелкими деталями.\nРисунок 3. Текущие воспитательные задачи как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh3.jpg\" />\nАльтернативой этому решению могут стать книги, часть листов в которых разрезана на кусочки по аналогии с головоломками или пазлами. Для того, чтобы увидеть картинку, нужно собрать страничку самому. Таким образом, одновременно с моторикой рук развивается и абстрактное мышление ребенка.\n<h3>Воспитание по полочкам</h3>\nНаиболее эффективным методом воспитания дисциплины и любви к порядку родители считают совместную уборку в комнате. Однако практика показывает, что это не всегда работает, и уборку за ребенка делают старшие братья, сестры или другие члены семьи. Поэтому книга, помогающая малышу привыкнуть содержать свои вещи в порядке, стала бы хорошим подспорьем родителям. Ее изюминкой могли бы быть выдвигающиеся объемные картинки, которые при закрытии книги малышу пришлось бы правильно расставить.\nРисунок 4. Реализация текущей воспитательной задачи как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh4.jpg\" /> Не менее важной задачей родители считают воспитание в детях такого качества, как вежливость. По их единодушному мнению его необходимо прививать детям именно в дошкольном возрасте. Однако не всегда взрослые представляют себе, как это сделать, поэтому идея создания детских книг, в которых любимые ребенком герои вежливо бы общались между собой, вызвала позитивную реакцию участников обсуждения.\nРисунок 5. Реализация текущей воспитательной задачи как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh5.jpg\" style=\"font-size: inherit; font-style: inherit; font-variant: inherit; line-height: 1.4em;\" /> \nПримером реализации антиидеи можно назвать книгу Григория Остера «Вредные советы», ориентированную, правда, на младших школьников, однако, благодаря простоте языка, вполне понятную и дошкольникам. В то же время в ходе групповой дискуссии мамы и бабушки выразили мнение, что не хотели бы в будущем давать детям эту книгу. Реализовать идею с «неправильными» ситуациями возможно так же в виде комиксов, так любимых малышами. Интересно, что, по мнению родителей, книги выполняют не только воспитательную и образовательную функцию, но и часто служат мостиком между ними и ребенком, помогают выявить круг его интересы, ответить на задаваемые им вопросы. Причем участницы фокус групп почти единодушно сошлись на том, что ребенок должен уметь читать уже с трех лет.\n<h3>А и Б сидели на трубе</h3>\nПриучение детей к книге в семьях большинства участниц фокус-групп начинается от года и ограничивается демонстрацией литературы, способной привлечь их внимание многочисленными яркими иллюстрациями и небольшим количеством текста. Родители стараются обеспечить ребенку непосредственный контакт с книгой, поэтому в этом возрасте особенной популярностью пользуются интерактивные издания, где ребенок может потрогать выпуклые рисунки, поговорить с ними, а также послушать голоса любимых героев. Постепенно родители отмечают момент, когда ребенок теряет интерес к таким книгам, и приступают сначала к изучению алфавита, а затем и к чтению. На этом этапе требования к книгам смещаются в сторону содержания. Теперь книга должна быть не только яркой, но и чему-то учить. По мнению участников фокус-групп детям проще осваивать технику чтения на знакомых книгах, тексты которых они уже знают наизусть. Поэтому актуальным представляется издание детских книг с «пропущенными» строчками или картинками, которые «проявляются», если, к примеру, потереть их рукой.\nРисунок 6. Механизм обучения чтению как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh6.jpg\" />\nНе следует забывать, что на определенном этапе работы с книгой дети, выучив наизусть текст, на самом деле могут просто делать вид, что читают его. Чтобы избежать этого, можно было бы предложить им концепцию книги с несколькими вариантами одного и того же сюжета, где часть странички легко заменить другой.\n<h3>Компьютеры и мультики</h3>\nВ ходе дискуссии было установлено, что уже в дошкольном возрасте современные дети начинают активно взаимодействовать с компьютером. Поэтому вполне логичным представляется создание электронных книг для детей, в которых традиционный текст перемежался бы анимацией, а также электронных приложений к классическим книгам, дополняющих основное содержание.\nРисунок 7. Интересы ребенка как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh7.jpg\" />\nПомимо прочего, участники фокус-групп указали, что сегодняшние дошкольники много времени проводят у телевизора, где смотрят в основном мультфильмы. В связи с этим родители опасаются, что увлеченность этим видом досуга может отвлечь ребенка от «более важного» чтения. Поэтому идея интеграции мультфильма и книги, то есть совмещения приятного и полезного, кажется многим родителям выходом из положения, когда «от телевизора не оторвешь».\nРисунок 8. Увлечения ребенка как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh8.jpg\" />\nПерспективным может стать и создание книги в видео-формате, сочетающим мультфильм и текст, который ребенок должен прочитать самостоятельно. Однако участники дискуссии особенно подчеркнули важность сохранения «книжности» подобного микса. По мнению большинства участников, необходимо, чтобы ребенок ни на секунду не забывал, что читает книгу, пусть и необычную.\n<h3>А я хочу быть птичкой</h3>\nОдним из главных факторов, свидетельствующих о гармоничном развитии ребенка, участники фокус-групп назвали появление у него разносторонних увлечений. Поэтому издателям следует внимательнее присмотреться к формату книги, которая помимо яркого повествования могла бы предложить ребенку совместить чтение со своим хобби. К примеру, после прочтения новой сказки малышу было бы интересно слепить своих любимых героев из пластилина или склеить их из заранее приготовленных деталей.\nРисунок 9. Увлечения ребенка как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh9.jpg\" />\nВ дополнение к этим инновациям можно было предложить вариант книги, в которой ребенок мог бы сам создать иллюстрации, к примеру, из пластилина или других материалов. В ряде фокус-групп участники отмечали интерес детей к животным. Для развития этого увлечения вполне можно использовать «книги-зоопарки», которые бы предлагали бы своим маленьким читателям вырезать или склеить из предложенных деталей своих любимых животных и поместить их в специальные кармашки, символизирующие клетки, принести им еду или вывести на прогулку.\nРисунок 10. Увлечения ребенка как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh10.jpg\" />\nИнтересной для детей может стать и книга, в которой кроме рассказа о животном содержится задание для детей - составить рассказ от имени, например, зайца или слона в зоопарке, птички, которую он может увидеть на улице. Такая игра развивает эмпатию и абстрактное мышление, а также помогает ребенку лучше запомнить рассказ. Несмотря на то, что данный способ и так часто применяется родителями, подобная книга облегчит их работу и внесет разнообразие. В целом, независимо от того, какие увлечения есть у ребенка, важно отметить, что их объединяет интерес к действию, активному участию в чем-либо. Именно это обстоятельство является определяющим в построении концепции книги для детей дошкольного возраста.\n<h3>Книжка с сюрпризом</h3>\nУчастники фокус-групп согласились, что чтение должно всегда перетекать в игру, а затем, играя, ребенок опять должен почувствовать желание вернуться к книге. Поэтому привлекательными для детей могли бы стать издания с приложениями-игрушками для подвижных игр. К примеру, игрушечный мастерок наверняка заинтересует ребенка после прочтения книги о строителях, а меч-кладенец представляет ценность для любого мальчика вне зависимости от того, интересная была книга или нет.\nРисунок 12. Любимые игры ребенка как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh12.jpg\" />\nВ дошкольном возрасте родителям необходимо сформировать в детях образное мышление и научить их применять его в своих играх (например, простая палка может быть и мечом, и дротиком, и посохом...). Эта логичная и хорошо описанная в педагогической литературе задача, как ни странно, не нашла отражения в групповых беседах, однако, проигнорировать ее было бы непростительной ошибкой. Наиболее простым и дешевым для издателя решением, направленным на формирование образного мышления, представляется книги с картинками, где ребенок должен был бы наклеить свои фотографии на лица главных героев книги.\nРисунок 13. Игры ребенка как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh13.jpg\" />\nУчастники фокус-групп отметили популярность у дошкольников игрушек на магнитах. Поэтому не менее перспективными кажутся книги, на которые можно было бы крепить магнитные фигурки главных героев.\nРисунок 14. Игрушки ребенка как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh14.jpg\" />\nВ дискуссии было многократно отмечено, что красиво оформленные книги дети воспринимают как игрушки. Одна из участниц упоминала, что ее дочери очень понравилось собрание сказок в нескольких томах в подарочной упаковке в форме сундучка, который она постоянно носила с собой. Поэтому издание книг в форме чемоданчика, рюкзачка или сумочки могло бы повысить продажи издательств. Еще одним вариантом могли бы стать книги, которые после прочтения можно было бы трансформировать при помощи ножниц в какую-нибудь интересную для ребенка вещицу.\nРисунок 15. Игрушки ребенка как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh15.jpg\" />\n<h3>Все лучшее - детям</h3>\nОценивая состояние современной детской литературы, участники фокус-групп обращают внимание в первую очередь на «жесткость» современных книг, отсутствие в них доброты. При этом знакомые им с детства книги они оценивают как «добрые», с «хорошим концом», считая их эталонными. В связи с этим всем большинству принявших в дискуссии мам и бабушкам понравилась идея создания книг, где нет «плохих», отрицательных персонажей, а есть только «хорошие», «добрые» герои.\nРисунок 16. Предпочтения родителей в выборе литературы как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh16.jpg\" />\nОднако высказывалось и мнение, что упрощенное, взрослое осмысление сказок (посредством «литературной обработки») искажает и делает недоступным для ребенка их образный смысл. Частично эта точка зрения перекликается с выводами детских психологов, которые утверждают, что детей картины проглатывания или утопления главных героев не пугают. Наоборот, сказки со «злыми героями» способствуют развитию эмоциональности ребенка и адаптируют его к жизни в обществе. Другим важным фактором, отталкивающим родителей от современной детской литературы, оказался язык. Большинство принявших участие в дискуссии указали на то, что ни дети, ни родители не всегда могут понять, что же хотел сказать автор, жалуются на обилие жаргонизмов. Но все же главным недостатком, оказалась именно современность языка и героев, которые, во многом, и создают у впечатление «жесткости» современных книг. Поэтому живой отклик аудитории вызвало предложение чаще публиковать старые советские сюжеты, где были бы описаны современные нам ситуации и реалии.\nРисунок 17. Предпочтения родителей в выборе литературы как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh17.jpg\" />\nОднако при чтении таких книг у детей может возникнуть проблема непонимания специфики жизни в СССР (к примеру, не все дети знают, кто такие пионеры), что может вызвать отторжение. Другой вариант, одобренный аудиторией - писатель, а затем и издатель должны четко следить за формированием сюжетной линии, в рамках которой современные герои реализовывали бы в своем поведении идеалы нравственности, близкие старшему поколению. Не смотря на негативные оценки взрослых, сами дети вполне лояльно относятся к современной литературе, просят почитать им, прежде всего, Гарри Поттера, информацию о котором они узнают по телевизору и от старших знакомых. Поэтому перспективным может быть лайт-издания современных бестселлеров, состоящих из маленьких историй и сопровождающихся многочисленными картинками.\nРисунок 18. Предпочтения детей в выборе литературы как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh18.jpg\" />\n<h3>Идеал</h3>\nНа вопрос о том, как должна выглядеть идеальная детская книга, участники фокус-групп ответили практически единодушно. Самым популярным форматом оказался альбомный; предпочтительная бумага - плотная глянцевая; шрифт - крупный, необычный цветной; иллюстрации - среднего размера, на которых изображены недосказанные действия. В качестве приложения родителям видятся наклейки, задания, игра, игрушка-герой сказки, музыка. Идеальной участники обсуждения назвали бы книгу, к которой у ребенка родилась бы привязанность, которую он везде бы носил с собой, регулярно перечитывал, знал бы наизусть большие отрывки. В этой связи интересна идея одной из мам, которая предложила создать «книжку-непромокайку».\nРисунок 20. Оригинальные идеи как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh20.jpg\" />\nПри моделировании идеальной книги участницы в очередной раз подняли тему животных, указав, что интерактивная книга-игра на эту тему была бы популярна у малышей.\nРисунок 22. Оригинальные идеи как основа концепции книги для детей дошкольного возраста <img src=\"http://publishit.ru/wp-content/uploads/2009/05/sh22.jpg\" />\nВ дошкольном возрасте дети только учатся читать и любят, когда им читают вслух. Именно поэтому аудиокниги стали так популярны среди малышей. Однако ребенок не может долго высидеть у динамика, и обращается к родителям с просьбой почитать вслух любимый эпизод из книги - голос мамы или бабушки не заменит никакой актер.\n<h3>Словарик издателя</h3>\nДетская книга - это первая встреча с миром литературы, поэтому, выбирая книгу для своего ребенка, родители с такой тщательностью оценивают ее содержание и внешний вид. По мнению участниц фокус-групп, детская книга должна нести добро, радость и восхищать ребенка яркими красками иллюстраций и веселой музыкой. Ни в коем случае книга не должна нести в себе агрессию, сюжет и картинки не могут вызывать страх ребенка. На основании контент-анализа высказываний участниц фокус-групп модераторами был составлен словарь, кратко описывающий пожелания целевой аудитории относительно оформления и содержания детской литературы. Книгу-мечту родители характеризуют такими эпитетами, как радостная, яркая, и счастливая. В противовес им были названы агрессивность, вредность, жадность, неопрятность, кровь и война. Основными пожеланиями к книгам оказались функциональность и развивающий характер, в то время как главными возможными недостатками книги - ее бессмысленность и большой объем. Главными героями хорошей, «настоящей» книги участники фокус групп назвали животных, в то время как наличие монстров - явный атрибут дешевого вредного издания.\nТаблица №1. Сопоставление словарей книги-мечты для дошкольника и её антипода. Содержание книги\n<table style=\"border: 1px solid #000000;\" border=\"1\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td style=\"border: 1px solid #000000; width: 318px;\">\nКНИГА-МЕЧТА\n</td>\n<td style=\"border: 1px solid #000000; width: 318px;\">\nАНТИ-КНИГА\n</td>\n</tr>\n<tr>\n<td style=\"border: 1px solid #000000; width: 318px;\">\n \nвеселье, радость\nдобрая\nживотные\nзабавная\nзверюшки\nигра\nпознавательная\nприключения\nразвивающая, обучающая\nсказка\nсчастье\nфантастика\nхорошая\nяркая\n \n</td>\n<td style=\"border: 1px solid #000000; width: 318px;\">\n \nагрессивный\nбессмысленный\nбольшая, длинная, много текста\nвзрослая\nвойна\nвредность\nжадность\nжестокость\nзло, злодеяние\nкровь\nмрачная\nнебрежность,  неопрятность\nнесправедливость, неуважение\nописание, описательный сюжет, рассказ\nобида\nслезы\nсмерть, убийство\nскучная\nмонстр,  страшилка, ужастик\n \n</td>\n</tr>\n</tbody>\n</table>\nЧто касается внешнего вида, то наиболее популярными среди родителей оказались красочные глянцевые альбомы с наклейками, возможность порисовать и послушать музыку. Одновременно чистый аудио-формат воспринимается большинством как вредный, а главными недостатками печатной продукции считается мелкий шрифт, газетная бумага и черно-белые картинки. Потенциальные потребители приветствуют наличие у книги приложения в виде игрушки или наклеек, однако, они обязательно должны быть добрыми и не вызывать у ребенка страха. Важно, что отторжение у покупателей вызывает тонкая бумага, так как в руках ребенка она быстро рвется и стирается.\nТаблица №2. Сопоставление словарей книги-мечты для дошкольника и её антипода. Оформление книги\n<table style=\"border: 1px solid #000000;\" border=\"1\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td style=\"border: 1px solid #000000; width: 318px;\">\nКНИГА-МЕЧТА\n</td>\n<td style=\"border: 1px solid #000000; width: 318px;\">\nАНТИ-КНИГА\n</td>\n</tr>\n<tr>\n<td style=\"border: 1px solid #000000; width: 318px;\">\n \nальбом\nглянцевая\nигрушки\nкрасочная\nмузыкальная\nнаклейки\nрисование\nс продолжением\nтеатр\nфункциональная\nяркая\n</td>\n<td style=\"border: 1px solid #000000; width: 318px;\">\n \nабстрактная\nагрессивная\nаудио формат\nброшюра\nгазета, газетная бумага, картонка\nдешевая\nдиафильм\nжесткая\nмаленькая, мелкий шрифт\nможет напугать\nневыразительная,  некрасочная\nнеяркая\nплохой\nпорваться,  портить, разорваться\nпростой\nсложный\nстрашная\nтемная, темнота, тьма\nтолстая, толстый том\nтоненькая\nчерно-белая, серая\n \n</td>\n</tr>\n</tbody>\n</table>\n Потребительские предпочтения на рынке детской литературы. Опрос. г. Санкт-Петербург\nТакже мы хотим обратить внимание читателей на еще одно исследование, проведенное компанией inFOLIO - телефонный опрос жителей Санкт-Петербурга, целью которого было изучение потребительских предпочтений в отношении детской литературы. Предлагаем выдержки из данного исследования. Подавляющее большинство жителей Санкт-Петербурга остаются верны книжным магазинам (83%). Они – вне конкуренции. Среди них выделяются два лидера - «Буквоед» (55,3%) и «Дом Книги» (18,7%). На втором месте – сети FMСG (14,4%), причем популярность их растет с увеличением образовательного уровня опрошенных. Чуть меньшее число людей приобретает литературу в детских магазинах (12,4%) или заказывает через интернет (9,5%). Примечательно, что в Санкт-Петербурге по сравнению с Москвой значительная часть респондентов отдает предпочтение online-покупкам. Наибольшую потребительскую активность в Санкт-Петербурге проявляют респонденты 32-38 лет с уровнем дохода до 30 000 руб. Самым популярным направлением литературы для дошкольников является художественная (56,5% постоянных покупателей и 28,5% - нерегулярных). Развивающую приобретает как систематически, так и от случая к случаю одинаковое количество респондентов (39% и 39,5%). Энциклопедии имеют сравнительно малочисленную аудиторию (17,5% и 19,5%). При этом мужчины покупают книги всех направлений в основном импульсивно, в то время как женщины, по большей части, постоянно. Жители Санкт Петербурга менее консервативны, чем опрошенные в Москве. Только 63,5% выбирают авторов, которых читали сами в детстве. Современную детскую литературу склонны приобретать респонденты с высоким уровнем благосостояния (из 50% «новых» книг 9,1% принадлежит зарубежным). Среди жанров художественной дошкольной литературы доминируют сказки (63,5% покупают постоянно, 27% - от случая к случаю), стихи (51,5% и 31%) и детские рассказы (33% и 39,5%).\n<img src=\"http://publishit.ru/wp-content/uploads/2009/05/childbook_spb_opros_55.jpg\" />\nРисунок 55. Потребительские предпочтения по жанрам художественной детской дошкольной литературы, где «А» - постоянно покупаю, «В» - покупаю от случая к случаю (распределение по образованию)\nС увеличением образовательного уровня растет приверженность постоянных покупателей к таким жанрам, как фольклор и мифы. Среди опрошенных со средним образованием спрос на детские пьесы отсутствует у тех, кто приобретает художественную литературу регулярно, и, напротив, весьма высок у делающих это от случая к случаю (17,4%). В развивающей литературе для младшего школьного возраста доминирующий жанр –дополнительные книги по школьному курсу (38%). Пособия для изучения иностранных языков выбирают значительно реже (13,6%). Для детей постарше подавляющая доля респондентов из всех энциклопедий отдает предпочтение общеобразовательным. Они максимально популярны среди всех жанров и в сегменте книг для дошкольного и младшего школьных возрастов (40%). По трети опрошенных Санкт-Петербурга предпочитают покупать в среднем 1-2 детских издания в месяц (более 60% в совокупности), а подавляющее большинство в Москве – 2-4. Это дает основание говорить о большем уровне потребления среди жителей столицы. Большинство питербуржцев оптимальной на покупку детской литературы считают сумму в пределах 250-500 руб. (43,2%). Еще для 30,9% приемлема цена более 500 руб., но не превышающая 1000 руб. Таким образом, ? респондентов тратят на книги 250-1000 руб. в месяц. Однако 12,6% готовы платить и больше.\n<img src=\"http://publishit.ru/wp-content/uploads/2009/05/childbook_spb_opros_142.jpg\" />\nРисунок 142. Потребительские предпочтения относительно оптимальной цены художественной литературы для детей старшего школьного возраста (распределение по доходу и возрасту)\nВ основном жители Санкт Петербурга приобретают книги для детей спонтанно, выбирая конкретное издание уже на месте (61,2%). Влияние интернета становится все более ощутимым с улучшением материального положения опрошенных, это единственное средство массовой информации, вошедшее в четверку лидеров (18,2%). Из этого можно сделать вывод о том, что СМИ недостаточно информирует население Санкт Петербурга о литературных новинках. Информация распространяется в основном «из уст в уста» через родственников и друзей.\n<blockquote>Приобрести данное исследование в полном варианте можно <a href=\"/ </a> http:/www.infolio-rg.ru/catalog/element.php?ELEMENT_ID=1812\">на сайте \"inFOLIO Research Group\"</a></blockquote>\nПо материалам <a href=\"http://www.infolio-rg.ru/catalog/element.php?ELEMENT_ID=1812\" target=\"_blank\">inFOLIO Research Group</a> и <a href=\"http://www.advertology.ru/article70611.htm\" target=\"_blank\">Advertology.ru</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:2914f0eeb4326e2d523455a2855db21f' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '<div class=\"field field-type-text field-field-description\">\n<div class=\"field-items\">\n<div class=\"field-item odd\">\nВ Госдуме готовится к рассмотрению законопроект \"О защите детей от информации, причиняющей вред их здоровью и развитию\". Предполагается, что предназначенная для юного поколения печатная продукция будет поделена на категории в зависимости от ее воздействия на психику ребенка. Депутаты считают, что существующая в стране законодательная база не препятствует распространению информации, травмирующей психику ребенка. Что происходит в современной отечественной литературе для детей, выяснял корреспондент \"Нашей Версии\".\n</div>\n</div>\n</div>\nЕсть две противоположные точки зрения на то, в каком состоянии сейчас находится детская литература в России. Первая - у нас много талантливых авторов, способных написать не менее талантливую книжку для ребятишек. Вторая - детская книга переживает глубочайший кризис. Поскольку подрастающее поколение страны воспитывается либо на старых сказках, либо на переводных книгах, далеких от российского менталитета.\nНайти книги талантливых авторов на полках книжных магазинов не так-то просто Действительно, долгое время российские книжные издательства, выпускающие детскую литературу, из года в год печатали огромными тиражами популярные детские сказки. И, наверное, правильно делали: \"Муха-цокотуха\" и \"Конек-горбунок\" пользовались и пользуются постоянным спросом.\nМежду тем и талантливых авторов в России немало: Андрей Усачев, Михаил Яснов, Марина Москвина, Марина Бородицкая, Сергей Седов, иллюстраторы Игорь Олейников, Микола Воронцов, Леонид Тишков, а также, конечно, классики жанра Виктор Пивоваров, Лев Токмаков, Генрих Сапгир и многие другие. Однако, посетив несколько книжных магазинов, легко убедиться - найти книги этих авторов не так просто. Да и вообще список детских книг, представленных на книжных полках, длинным не назовешь.\n\"Детскую книгу труднее создавать. А ребятишкам нужны разные книги. Они очень быстро развиваются, то, что им читают в возрасте двух-трех лет, очень отличается от литературы, написанной для четырех-семилетних малышей. При этом книга должна быть хорошо издана, в ней должны быть яркие иллюстрации. И очень мало книг для подростков. Что им читать? Аркадия Гайдара, Каверина или Крапивина? Но их книги написаны в советское время и слишком идеологизированы. А когда тинейджеры говорят, что никакая другая книга не отвечает на волнующие их вопросы так, как \"Гарри Поттер\", об этом нужно задуматься. И писателям, и книжным магазинам, и прежде всего государству. Надо поддерживать детские издательства и детских авторов. Если, конечно, мы хотим, чтобы в нашей стране росли грамотные и развитые дети\", - говорит Надежда Михайлова, генеральный директор Московского дома книги.\nРоссийский книжный союз совместно с Федеральным агентством по печати и массовым коммуникациям разработали программу поддержки издательств, занятых выпуском детской книги. Но программа эта так и не была принята. А нужна ли вообще государственная программа? Или можно обойтись своими силами?\nКак выясняется, можно. Тем более что большинство издательств давно уже частные. Например, издательство\"Рипол классик\" решило отойти от привычных штампов и выпустило серию \"Новые сказки нового времени\". Первыми из печати вышли произведения авторов, никогда ранее не пробовавших свои силы в написании книг для самых маленьких читателей. Так, режиссер Марк Розовский записал сказки, которые некогда рассказывал своей дочке Саше. \"Международник\" Юрий Вяземский сочинил \"Сказку про девочку Настю и злую Невидимку\", а писатель и журналист Андрей Максимов стал автором \"Сказок для тебя\".\nЕсть и другие любопытные серии. Так, в последние несколько лет большую популярность приобрел проект\"Смешарики\". Напомним, он появился как мультсериал (его создал аниматор Михаил Мещанинов). Но уже летом 2004 года стартовал издательский проект. В итоге к сегодняшнему дню было издано более 100 наименований детской книжной продукции общим тиражом более 5 млн. экземпляров.\nРуководитель отдела детской литературы издательства \"Рипол классик\" Сергей Тишков полностью согласен с тем, что \"Смешарики\" - настоящий успешный массовый продукт. Он, впрочем, считает, что этот проект так же далек от того, что можно назвать литературой и искусством детской иллюстрации, как \"Макдоналдс\" от высокой кухни. Хотя все ярко, интересно, и детям нравится, и родителям понятно.\nПри этом многие издатели сейчас хотели бы заниматься детской литературой. Ведь это огромный рынок. И он очень живой, несмотря на ситуацию в экономике. Напомним, в течение нескольких лет демографическая ситуация в России улучшалась, целевая аудитория детских товаров непрерывно росла и растет. Соответственно и спрос на книги для ребятишек стабилен.\nСколько же нужно вложить в \"детский\" продукт? Если минимально - а это стоимость прав и печать тиража одной книги, - то порядка 7 тыс. долларов. И далее полагаться на талант и упорство издателя. Верхняя же граница вложений не лимитирована. Речь может идти о сотнях тысяч и даже миллионах, а основные расходы будут связаны с продвижением продукта и рекламой.\nТак не проще ли издавать переводную литературу? Но не все так просто. Да, можно купить лицензию у издательства, которое выпустило книгу. Если речь идет о формате \"книга - картинка\", а этот формат очень популярен на Западе и называется picture-book, то нужно потратить от 1 до 5 тыс. долларов. Но с западной продукцией, как говорят специалисты, очень тяжело работать из-за огромной разницы в менталитете.\nТе издательства, которые специализируются на переводных книгах в России, конечно, стараются найти бестселлеры, которые пользуются большим спросом за границей. Но популярность в другой стране совсем не гарантирует, что книга станет бестселлером и в России. \"Гарри Поттер\", выходящий миллионными тиражами в самых разных странах, это особый случай.\nТак, может, стоить попробовать раскрутить пока еще неизвестного российского автора: вложиться в рекламу, поработать с детскими центрами, книжными магазинами, цирком, поставить спектакль, сделать мультфильм, на ледовом шоу под лед закатать рисунок с главным героем сказки? И родители будут покупать эту книгу.\nНо здесь есть один очень важный момент. Книга действительно должна быть хорошей. Вряд ли она станет бестселлером, если она будет плохо написана, герой будет неинтересный и бледный или все будет сделано на коленке. Надо отдать нынешним мамам и папам должное: вкус к детской литературе у них есть.\n<h3>Комментарии</h3>\n<blockquote>Аркадий Арканов, писатель: - Если у нас что-то сейчас и есть в детской литературе, так это только в области поэзии. Сразу могу назвать такие имена, как Эдуард Успенский и Григорий Остер. А вот из детской прозы я что-то ничего не замечаю. А вот зарубежной прозы очень много - и хорошей, и средней, и, мягко говоря, не очень хорошей. И еще у нас сейчас эпидемия Интернета, а также дети просто повально привязаны ко всяким игралкам, стрелялкам, ужастикам и телевизору, что, конечно, очень плохо сказывается на развитии интеллекта. Но ведь любая литература, в том числе и детская, просто необходима - я говорю о настоящей, качественной литературе, - потому что через нее ребенок получает первое понятие о добре и зле. И если такой литературы нет, то мы очень быстро, в течение одного-двух поколений, потеряем нормальных людей и превратимся в весьма странное общество.\n</blockquote>\n<blockquote>Жанна Эппле, актриса: - Конечно, сейчас есть детская литература. Стоит только зайти в какой-то хороший книжный магазин, и сразу видишь массу прекрасных книжек с потрясающими иллюстрациями. Выбор просто огромен! Куда ж от этого родителям деться, сказки-то детям все равно надо читать - про того же Гулливера, Муми-троллей и так далее. Я читала своим сыновьям те же сказки, которые и мне читали в детстве. Конечно, детей и надо воспитывать на классике. Как это ни странно, но мой младший сын сейчас читает Библию, и ему это интересно. Правда, он взялся за это благодаря няне, которая оказалась верующим человеком. Но ведь я специально такую женщину не искала. Мой старший сын не любит читать книжки, младший же их просто глотает. Когда я была маленькой, мама составила мне список книг, которые должна прочитать каждая интеллигентная девочка. Конечно же, это была классика - русская и зарубежная, которую должен знать каждый образованный человек. И это были самые лучшие книги, которые я прочитала.\n</blockquote>\n<blockquote>Татьяна Устинова, автор детективных романов: - Перспективы-то у нашей детской литературы есть, а вот ее самой, по-моему, нет. Мы с сестрой, как мамы, часто обсуждаем вот какой момент: примерно до третьего класса нашим детям есть что читать, а вот когда заканчивается период \"Конька-Горбунка\", \"Детства Никиты\" и \"Темы и Жучки\", то наступает грандиозный провал. И министр образования Андрей Фурсенко пытается его заткнуть произведениями, которые нашим детям совершенно неинтересны. Да, Жюль Верн - великий литератор, но сейчас его читать нельзя. Восторженное описание воздушного шара как технической новинки вызывает у ребенка просто смертную скуку. Про Чингачгука Большого Змея тоже читать неинтересно, а вот альтернативы этому сегодня нет. Более же взрослым детям пытаются привить любовь к Л.Н. Толстому посредством чтения романа \"Война и мир\". А ведь это далеко не детская литература!\nМне кажется странным, почему в школе не проходят \"Двух капитанов\", но зато почему-то изучают \"Обломова\" - историю кризиса среднего возраста, как 30-летний дяденька лежит на диване и не знает, чем ему себя занять. У меня сыну 16 лет, и я не могу объяснить, зачем читать про кризис среднего возраста, до которого ему еще очень далеко. Так что подростковой детской литературы как не было, так и нет, особенно отечественной. Но я считаю, что она все равно должна откуда-то взяться и начать развиваться семимильными шагами. Все писатели должны немедленно взять и начать писать для детей-подростков, потому что эта ниша сейчас никем вообще не занята.\n</blockquote>\n<blockquote>Дана Борисова, телеведущая: - Сейчас книг для детей очень много. Правда, я пока могу судить только о маленьких детях, которым до полутора лет. Своей дочке я читаю стихи Агнии Барто, Сергея Михалкова и рассказываю те же сказки, на которых выросла сама. Конечно, моя дочка знает все эти вечные сюжеты про Колобка, Курочку Рябу и так далее. А вот про книги для детей более старшего возраста я пока не знаю, потому что мы до них еще не доросли.\n</blockquote>\n<blockquote>Борис Грачевский, художественный руководитель киножурнала \"Ералаш\": - В отличие от детского кино наша детская литература идет полным маршем! Сейчас есть огромное количество талантливых писателей, которые пишут хорошие книжки для детей. Один из лучших - Сергей Георгиев, и это просто счастье, что он длительное время был редактором нашего журнала. И таких ребят очень много, они появляются и в поэзии, и в прозе. С детской литературой у нас все в порядке, просто надо внимательнее смотреть на книжные полки.\n</blockquote>\nИсточник: Версия\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:f80b47f6d84a10259e6bdcbca34f46c7' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '<div class=\"field field-type-text field-field-description\">\n<div class=\"field-items\">\n<div class=\"field-item odd\">\nИздательство АСТ заключило с ФГУП \"Фильмофонд киностудии \"Союзмультфильм\"\" эксклюзивный договор на право использования мультипликационных кадров советских анимационных фильмов (в том числе \"Ну погоди!\" и \"Каникулы в Простоквашино\") в печатных изданиях. Годовые продажи книг по мотивам этих мультиков к 2012 году могут составить около $10 млн, подсчитали в АСТ. Издательство обезопасило себя от судебных исков создателей фильмов: Минкультуры считает единственным владельцем мультперсонажей фильмофонд\"Союзмультфильма\".\n</div>\n</div>\n</div>\nКак рассказали \"Ъ\" и. о. директора ФГУП \"Фильмофонд киностудии \"Союзмультфильм\"\" Василий Шильников и финансовый директор издательства АСТ Олег Бартенев, издательство \"Астрель\", входящее в группу АСТ, заключило с фильмофондом семилетний договор, по которому получило право на использование мультипликационного ряда всех советских мультфильмов в печатных изданиях, в частности книгах и брошюрах.\nПервые книги АСТ начнет выпускать в сентябре вместе с видеодисками. \"Фактически мы будем выпускать книжки с покадровой разверсткой и точными текстами сценария мультфильма\",— пояснил господин Бартенев. По его расчетам, годовой оборот в рознице этих книг может к 2012 году составить $10 млн. Сейчас, добавляет он, книги по мотивам советских мультиков занимают 1% в общем сегменте детских книг (с учетом энциклопедий и развивающих изданий) и около 5% в сегменте детской авторской сказки. По оценке гендиректора \"Росмэн\"Михаила Маркоткина, годовые продажи детских книг составляют примерно $400 млн.\nПо договору, первые два года фильмофонд будет получать фиксированную сумму, а в дальнейшем — вдобавок к ней — процент от продаж книг. Топ-менеджер другого книжного издательства, осведомленный о переговорах, говорит, что сумма отчислений со стороны АСТ в первые два года должна составить 15 млн руб. \"Процент от продажи книг может достигать 7-10%. А если, например, студия будет снимать продолжение советских мультфильмов и транслировать их на телеканалах, уровень отчислений может подняться до 12%, а в исключительных случаях — до 15%\",— рассуждает гендиректор \"Эгмонт Россия\" Лев Елин.\nВ коллекцию \"Союзмультфильма\" входит 1379 анимационных фильмов. В 2001 году Высший арбитражный суд России признал ФГУП \"Киностудия \"Союзмультфильм\"\" правопреемником советской киностудии \"Союзмультфильм\". В 2003-м ФГУП был разделен на две организации — ФГУП \"Фильмофонд киностудии \"Союзмультфильм\"\" (занимается управлением коллекцией) и ФГУП \"ТПО Киностудия \"Союзмультфильм\"\" (управляет мощностями киностудии). Продажи прав на трансляцию мультфильмов на телеканалах оцениваются в $100-300 тыс. ежегодно.\nВ издательскую группу АСТ (выручка в 2008 году оценивается в $250-300 млн) входят, в частности, издательства АСТ, \"Аванта+\", \"Астрель\", сеть магазинов \"Буква\". По данным Российской книжной палаты за 2008 год, группа заняла второе место по количеству наименований (9,9 тыс.) и общему тиражу (71,4 млн) выпущенных книг и брошюр после \"Эксмо\". По данным отчета \"Топ-книги\" за IV квартал 2008 года, \"Буква\" включает 300 магазинов и занимает 5% российского книжного ритейла.\nПо оценкам господина Елина, АСТ и сейчас является одним из крупнейших издательств, использующих образы советских мультфильмов. Среди книг издательства — \"Праздники в деревне Простоквашино\", \"Новые истории про Чебурашку\" и др. По оценкам господина Бартенева, в этой нише АСТ занимает более 60%. \"\"Астрель\" уже имеет договоры с большинством авторов произведений, по которым были созданы советские мультфильмы, а также с художниками-постановщиками,— поясняет менеджер.— Однако мы не могли использовать в книгах в точности тот ряд, который был отображен в мультфильме. Поэтому, например, для книги \"38 попугаев\" приходилось заново рисовать иллюстрации, чтобы они не были похожи на мультфильм\". Писатель Эдуард Успенский вчера подтвердил \"Ъ\", что АСТ работает по договору с ним и Григорием Остером.\nСейчас для того, чтобы переработать советские мультфильмы, необходимо заключить договор с авторами, например, художником и сценаристом, говорит руководитель кафедры ЮНЕСКО по интеллектуальной собственности при Высшей школе экономики Михаил Федотов. В советские времена у студий были права на аудиовизуальный продукт, а права на переработку исходных произведений оставались у авторов, подтверждает владелец юридической фирмы \"Усков и партнеры\" Вадим Усков.\nОднако в 2008 году Минкультуры направило ФГУП \"Фильмофонд киностудии \"Союзмультфильм\"\" письмо (копия есть у \"Ъ\"), в котором говорилось, что право на использование персонажей принадлежит предприятию, а использование мультипликационных фильмов и персонажей из них третьими лицами возможно только на основе соответствующих договоров, заключенных с ФГУП. \"Возможно, в АСТ решили обезопасить себя от возможных исков со стороны фильмофонда\",— говорит господин Усков. Господин Бартенев добавил, что АСТ совместно с фильмофондом будет в судебном порядке оспаривать незаконное использование мультипликационного ряда другими издательствами.\nОльга Гончарова, Источник: <a href=\"http://www.kommersant.ru/doc-y.aspx?DocsID=1158347\" target=\"_blank\">Коммерсант</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:3efde339dcb2934529ef42f21d62c69f' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = 'Несмотря на то что выражение «самая читающая страна в мире» применительно к России утратило свою актуальность, роль книги в нашем обществе по-прежнему остается особой, не такой, как в других странах. Книги у нас не положено мять, выбрасывать и читать за едой (в частности, именно поэтому у нас так и не привилась культура пейпербеков — дешевых «одноразовых» книжек). Книги — не просто форма передачи информации и уж тем более не разновидность развлечения, но важная примета высокой духовности. Словом, книги в нашей стране — это не просто книги. Именно этим, вероятно, и объясняется значительный перекос российских читательских предпочтений в сторону художественной литературы. Если во всем мире наиболее востребованным и социально значимым сегментом книжного рынка был и остается прагматичный нон-фикшн (понятый максимально широко — от рукоделия до эзотерики и от пчеловодства до высокого науч-попа), то у нас традиционно предпочтение отдается романам или на худой конец повестям и сборникам рассказов. Романтичный, многозначный и бесполезный (если рассматривать любой объект с точки зрения его практической применимости) худлит, собственно, только и сохраняет за собой право именоваться литературой — по крайней мере в первом, наиболее распространенном значении этого слова. Так было и в XIX веке, и при советской власти, и даже сегодня многие по-прежнему продолжают считать, что нон-фикшн — это, конечно, литература, но… как бы так поделикатнее выразиться… всё же второго сорта. В сфере детских книг это отношение было доведено до логического предела. Нехудожественные книги для детей, разумеется, в нашей стране существовали, однако их было непростительно мало. Если опросить десять человек старше 25 лет, какие познавательные книжки они любили в детстве, их ответы, вероятнее всего, не будут отличаться большим разнообразием. Наверное, все назовут «Занимательную математику» Якова Перельмана и «Занимательную минералогию» Александра Ферсмана (в скобках заметим, что первая из этих книжек — вообще дореволюционная, а вторая появилась в конце 20-х годов прошлого века). Кто-то вспомнит «Письмо греческого мальчика» Соломона Лурье, кто-то — «Водителей фрегатов» Николая Чуковского. И, скорее всего, каждому придет на ум «Детская энциклопедия» — вожделенная, прекрасная и редкая, как снежный барс или метеоритное железо. Практически не обновляясь, этот куцый список из нескольких десятков наименований дожил до самого недавнего времени — еще в конце 1990-х годов детям предлагалось читать и перечитывать те же самые книги, на которых воспитывались их родители или даже бабушки.\n<h3>Время перемен</h3>\nПеремены начались с нехудожественной прозы для взрослых. К началу 2000-х годов стало понятно, что область «питательной литературы» (это выражение вместо импортного «нон-фикшн» предложила известный критик Наталья Иванова) привлекает всё большее число читателей. Иллюзия того, что, читая книгу, можно не просто забавляться, но проводить время с пользой, оказалась необыкновенно актуальной и созвучной духу времени. Тиражи нон-фикшна (по большей части переводного) стали стремительно расти, а несколькими годами позже процесс докатился и до детской литературы. Первым, что пришло в голову издателям, стали всевозможные детские энциклопедии — начиная от банальной «Энциклопедии школьника» и заканчивая энциклопедиями маленьких пиратов и юных принцесс. Однако после того как эта тема была отработана по максимуму, возник вакуум: сказывалась слабость традиции и фактическое отсутствие авторов, пишущих детский нон-фикшн по-русски. Выход из этой ситуации нашло издательство «Махаон»: их красочные «Египтология» и «Драконоведение» (по сути, конечно, весьма завиральные, но при этом необыкновенно красивые и забавные) оказались главными детскими бестселлерами образца 2005 года и указали путь дальнейшего развития нехудожественной литературы для детей в России. Процесс публикации детского нон-фикшна стал лавинообразным.\n<h3>Недетские проблемы</h3>\nСегодня в этой сфере по-прежнему преобладают переводы — отечественные книги редки. И тем не менее даже с учетом подобного ограничения в области детского нон-фикшна наблюдается колоссальное разнообразие. Всё меньше остается тем, которые считаются недетскими: сегодня говорить с ребенком можно решительно обо всем. Главное — правильно выбрать тон. Бесспорными законодателями мод здесь остаются авторы из Скандинавии. Шведская художница и писательница Пернилла Стальфельт — автор книг «О любви» и «О смерти» — сумела рассказать детям о том, как начинается и как заканчивается жизнь, на некоем универсальном детском лингва франка, который одинаково хорошо понимают и в России, и в Австралии. Где бы ни публиковались книжки Стальфельт, они неизменно возглавляли рейтинги книжных продаж, и наша страна не стала исключением, несмотря на отрицательную (порой резко отрицательную) реакцию со стороны консервативно настроенных взрослых. Схожим образом — пожалуй, в несколько смягченной форме — устроены книги других писателей с севера Европы: «Как дедушка стал привидением» Кима Фупса Окесона и Эвы Эриксон (про то, как пережить утрату близкого человека) и «Как я появился на свет» Катерины Януш и Мерви Линдман(про физиологию оплодотворения, внутриутробного развития и родов). Точно выбранные слова и тактичные, обаятельные иллюстрации позволяют авторам свободно говорить с читателем на темы, до недавнего времени остававшиеся за пределами традиционной сферы детских интересов. И, как показывают продажи и тиражи, этот подход оказывается исключительно актуальным: ведь, по сути дела, такие книжки помогают родителям выстраивать разговоры с ребенком на трудные, деликатные темы.\n<h3>Что издать?</h3>\nОказавшись лицом к лицу с необходимостью отбирать книги для публикации в России, издатели используют различные стратегии. Кто-то ориентируется на собственный вкус. Кто-то равняется на цифры западных продаж. Самый необычный вариант придумали в «Розовом жирафе». Как рассказывает генеральный директор этого издательства Джулия Загачин, «меня очень интересовало, почему мой двуязычный сын отказывался читать те книжки, которые я любила в детстве и которые пыталась предлагать ему. И вот тогда вместе с несколькими другими мамами мы решили создать издательство, которое учитывало бы именно детский вкус. Теперь у нас работает своего рода экспертный совет из нескольких детей, в частности моего сына (на всех книгах «Розового жирафа» он обозначен как «вдохновитель издательства»), которые обязательно прочитывают все книги, которые мы собираемся выпускать, и дают им свою оценку». Пока этот оригинальный принцип успешно подтверждает свою эффективность: большая часть нехудожественных книг для детей, выпущенных этим издательством, неплохо продается, и уж точно практически все получили отличную прессу.\n<h3>Куда идем?</h3>\nСерии и отдельные издания, истории в картинках и серьезный науч-поп, книжки для малышей и для старшеклассников, вечнозеленая классика и последние новинки — казалось бы, сегодня на рынке трудно найти нишу, которая еще не была бы плотно обжита и освоена. И тем не менее издательский бизнес инновационен по определению, а это значит, что тот, кто рискнет остановиться, неизбежно окажется в проигрыше. Инновации вовсе не всегда затрагивают технологические сферы. Очень часто для того, чтобы преуспеть, требуется совсем немного. Например, главный редактор издательства «Махаон» Александр Туров полагает, что наиболее перспективным является сочетание теории и практики: «Мне кажется, большой успех будут иметь издания, в которых возможность, скажем, прочитать о каком-то эксперименте будет сочетаться с возможностью его повторить на практике. Причем сделать это таким образом, чтобы родителям не пришлось закупать сыну или дочери небольшую лабораторию, сложные приборы, дорогие реактивы. Идеальным будет вариант, при котором к книжке будут прилагаться какие-то простейшие предметы, которые в сочетании с обиходными домашними вещами позволят читателю самостоятельно провести несложный опыт и собственными глазами увидеть то, о чем он только что прочел». Однако, в каком бы направлении ни развивался детский нон-фикшн, можно со всей определенностью утверждать: нехудожественная литература для маленького и юного читателя становится сегодня важнейшим культурным трендом. И если повсеместный прагматизм и ускорение процессов взросления, свойственные нашему времени, способны приносить такие прекрасные плоды, как хорошие познавательные книжки для детей, возможно, это уже достаточное основание для частичной реабилитации глобального тренда.\nГалина Юзефович Источник: <a href=\"http://www.chaskor.ru/p.php?id=2327\" target=\"_blank\">Частный Корреспонден</a>т\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:a186832d011cfc642b2d6f0c25fc6db1' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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user warning: Incorrect file format 'cache_filter' query: UPDATE cache_filter SET data = '<div class=\"field field-type-text field-field-description\">\n<div class=\"field-items\">\n<div class=\"field-item odd\">\nДетские книги, призванные не только развлекать, но и сообщать что-то новое о мире, в последнее время перестают быть редкостью. К привычным «энциклопедиям школьника» добавились издания самых разных жанров и типов, рассчитанные как на продвинутую, так и на самую юную читательскую аудиторию. Более того, наряду с привычными бумажными книгами всё большую популярность набирают аудиокниги. Интернет-издание \"Частный Корреспондент\" выбрало пятерку самых интересных познавательных проектов для детей, появившихся за прошедший год.\n</div>\n</div>\n</div>\n1. Детский проект Людмилы Улицкой «Другой, другие, о других» (М.: Эксмо, 2008) Первоначально детская серия, придуманная и составленная писательницей Людмилой Улицкой, была просто подборкой качественного детского нон-фикшна. Опубликованные в 2006 году книги (среди них «Большой взрыв и черепахи» Анастасии Гостевой, «Платья, кружева, ботинки» Раисы Кирсановой и другие) не были объединены глобальной идеей и не несли мощного воспитательного заряда.\nВозродившись после почти двухгодичного перерыва, серия слегка изменилась. Теперь книги, в нее выходящие, — это своего рода пособие по толерантности. Сквозные персонажи (абхазец Даут — мальчик из очень традиционной, консервативной семьи и его одноклассник Кирилл — дитя богемных родителей-интеллектуалов) становятся проводниками, указывающими читателю путь к пониманию и принятию чуждых религиозных, нравственных, семейных, культурных ценностей.\nОднако несколько повысившийся градус нравоучительности счастливым образом не сказался на качестве книг. К декабрьской ярмарке <a href=\"http://publishit.ru/?p=326\">non/fiction</a> серия пополнилась сразу несколькими новинками, и все они ухитряются сочетать в себе высокий (без всякой иронии) воспитательный пафос с информативностью, занимательностью и юмором. Книга Ларисы Винник «Я не виноват!» рассказывает читателю про наказания, понятия вины и невиновности и про то, что такое закон, откуда он взялся и зачем нужен. В книге Анастасии Гостевой «Дух дома дома?» говорится о восприятии домашнего очага, начиная с эпохи троглодитов и заканчивая сегодняшними идеями «умных домов». А замечательный культурный антрополог Марина Бутовская в своей книге «О дохлой кошке и живых котятах» рассказывает о тех обрядах и представлениях, которые в разные времена и у разных народов сопутствовали рождению и смерти.\n2. Джон Сабуда, Мэтью Рейнхарт. «Звери», серия «Энциклопедия древностей» (М.: Розовый жираф, 2008) Нынешняя книга — продолжение легендарных «Динозавров», перевернувших расхожие представления о том, чем, собственно, является и чем не является детская книжка с картинками. Открывая «Зверей», читатель (причем вовсе не только маленький) обречен восторженно охать едва ли не ежеминутно: мало того что с каждого разворота встает огромный (до 20 см высотой) объемный ископаемый зверь, причудливым образом вырезанный из бумаги, так еще и в небольших карманчиках по бокам страницы прячутся его миниатюрные собратья! Некоторые «картинки» (хотя правильнее, наверное, было бы назвать их скульптурами) ко всему прочему еще и движутся: летающий звероящер очень убедительно машет перепончатыми крыльями, а человеческая ладонь, скрывающая миниатюрного древнего грызуна, сгибает и разгибает пальцы.\nОднако невероятное, по-настоящему волшебное качество иллюстраций вовсе не отменяет серьезности текста: в маленьких и обманчиво легкомысленных (1—2 абзаца) текстиках заключена достаточно нетривиальная информация, которую зачастую не найдешь и в более объемистых энциклопедиях из жизни ископаемых тварей. Если же юный читатель всерьез заинтересуется палеонтологией, он сможет продолжить свои исследования в Палеонтологическом музее — приложением к книге служит бесплатная экскурсия в исполнении артистичного и харизматичного ученого-биолога Ильи Калмановского.\n3. Аудиоэнциклопедия «Чевостик»: «Древний Египет» (MusicBaby, 2008) Чем занять ребенка, который еще не умеет (или просто не очень любит) самостоятельно читать? Что делать, если дитя расканючилось в машине посреди бесконечной пробки? Именно для таких случаев предназначеныаудиоэнциклопедии серии «Чевостик» — безусловная жемчужина на рынке современной аудиопродукции для детей. Часовые спектакли («Древний Рим», «Животные Африки», «Корабли и мореплавание» — всего более 30 наименований) представляют собой диалоги двух главных героев — ученого дяди Кузи и его маленького (ростом с ладошку) друга — любопытного зверька Чевостика, проживающего у дяди Кузи на книжной полке. Вместе герои отправляются в путешествия во времени и пространстве, изучают обычаи древних новгородцев и парусную оснастку галеона, участвуют в Великих географических открытиях и наблюдают диких обитателей джунглей.\nГлавное ноу-хау серии — сочетание верного тона с безукоризненной фактической точностью. Дядя Кузя общается со своим миниатюрным другом точно так же, как общается с любимым ребенком разумный взрослый, — с симпатией, уважением и легкой иронией. Объясняя своему собеседнику сложные концепты, он делает это доступно и увлекательно, но вместе с тем не впадая в грех излишних упрощений. А малыш Чевостик реагирует в точности так же, как реагирует нормальный ребенок: отвлекается, перебивает, хихикает и задает вопросы ровно в тех местах, в которых их непременно задали бы шести-восьмилетние мальчик или девочка.\nПрямо перед новогодними праздниками серия пополнилась новым диском, посвященным истории и культуре Древнего Египта. Помимо традиционных тем (пирамиды, лотосы, папирусы, фараоны и прочие живописные банальности) дядя Кузя расскажет Чевостику о том, что ели древние египтяне, во что они одевались, а также когда и как праздновали Новый год.\n4. «Джордж и тайны Вселенной» (М.: Розовый жираф, 2008) Формально книга Стивена и Люси Хокинг, великого физика и его дочери, — это, конечно, фикшн. В книге есть герои, приключения, а также (пользуясь выражением Алисы) картинки и диалоги. Однако, несмотря на наличие сюжета, «Джордж и тайны Вселенной» — книжка сугубо познавательная, и все попытки придать ей «сказочный» вид продиктованы, очевидно, соображениями рыночной привлекательности.\nДжордж вырос в семье, где наука и технологический прогресс считаются главными врагами рода человеческого. Папа Джорджа убежден, что телевизор придуман специально для того, чтобы забивать головы детям всякой белибердой, а мама выращивает на огороде экологически безупречные овощи и считает лучшей формой досуга участие в марше против загрязнения окружающей среды. Здоровая, безопасная и однообразная жизнь для Джорджа кончается в тот момент, когда, забравшись в заброшенный соседский дом, он знакомится со странной девочкой Анни и ее отцом-физиком Эриком, обладателем сверхмощного компьютера, способного переносить людей в любую точку Вселенной.\nС этого момента солировавшая до сих пор Люси Хокинг уступает пальму первенства своему отцу, и дело начинает спориться. Черные дыры и туманности, звезды и планеты, время и пространство — если вы уже читали «Краткую историю времени» и «Мир в ореховой скорлупке», то ничего радикально нового из «Джорджа» вы, скорее всего, не почерпнете. Зато убедитесь, что удивительный дар Хокинга объяснять сложные концепты на пальцах, да так, что у читателя буквально дух захватывает, распространяется не только на взрослых-нефизиков, но и на любознательных десятилеток. Главное — это научиться проскакивать зануднейшие «сказочные» эпизоды, которых в книжке, увы, несколько больше, чем хотелось бы.\n5. «Я люблю читать!» (М.: Махаон, 2008) Трудно представить себе худшую пытку для родителя, нежели сидеть рядом с собственным чадом, осваивающим азы чтения по букварю, и слушать бесконечные «Антон и Полина пололи». Да и самому ребенку — осмысленному, разумному существу четырех или пяти лет — бывает непросто объяснить целесообразность этого процесса: зачем читать букварную галиматью тому, кто привык слушать сказки про Пеппи Длинныйчулок или Незнайку?\nСерия книжечек «Я люблю читать!» — оптимальное решение этой проблемы. С одной стороны, все они специально адаптированы для начинающего читателя — короткие абзацы, простые предложения, отсутствие сложных синтаксических конструкций. С другой — читать их действительно интересно: увлекательные и информативные микрорассказики устроены таким образом, что добраться в них до конца захочется не только самим неофитам от чтения, но и их родителям.\nВсе книжки серии разделены на четыре большие категории: «Животные», «Планета Земля», «Изобретения», «История». А каждая из них в свою очередь подразделяется на уровни сложности — от совсем простеньких текстов с яркими иллюстрациями, которые будут под силу совсем малышам, до относительно сложных историй на 2—3 странички, которые понравятся даже младшим школьникам.\nГалина Юзефович, источник: <a href=\"http://www.chaskor.ru/p.php?id=2328\" target=\"_blank\">Частный Корреспондент</a>\n', created = 1758098224, expire = 1758184624, headers = '', serialized = 0 WHERE cid = '2:b83c29d80af3e38ec4c0059ebbe32106' in /var/www/clients/client1/web13/web/includes/cache.inc on line 108.
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Перед вами – семь лучших книг, которые откроют новый мир и расскажут о науке весело и увлекательно. 1. «Сэр Периметр и Дракон Пи», Синди Нойшвандер. Конечно же, эта книга – о математике.

Подростковая литература: самые искренние книги

Самая главная черта всех книг – искренность, ведь иначе подростки читать не станут, «выкупят» вранье и выдумки. Пятерка книг для одной из самых требовательных аудиторий поможет получить истинное наслаждение от новых книг. 1. «Скажи, что будешь помнить». Кэти Макгэрри – известная американская романистка.

Как выбрать профессию: подскажут книги

Дети во все времена одинаковы: с самого маленького возраста они живо интересуются происходящим вокруг, а уже ближе к школе начинают понимать, что все мамы и папы работают на разных работах.

Книжки для девочек: что читать на ночь

Элена Фавилли и Франческа Кавальона писали замечательную книгу «Сказки на ночь для юных бунтарок», которую интересно будет читать не только детям, но и их родителям! О чем же она? Тут собрана сотня сказок, которые, по сути, посвящены сильным и независимым женщинам.

Книжный багаж — Обзор лучших детских книг в дорогу

Герои книги Анны Ремез «Волны ходят по четыре» (издательство «Поляндрия») — мама, папа и дочка, от лица которой ведется повествование, — едут на море.

Навстречу лету — Обзор лучших книг о лете для самых маленьких

«Голубая книга лета» (издательство «Карьера пресс») отвечает на множество детских вопросов об этом времени года: откуда берется гроза, каких насекомых можно встретить летом, почему падают звезды и как избежать обезвоживания.

Летний список — Обзор книг на лето для 11 класса

Начнем с самого загадочного и таинственного произведения из списка — с «Мастера и Маргариты» Булгакова (издательство «Азбука»). Украсить этот роман могли только иллюстрации непревзойденного мастера своего дела, и художник Геннадий Калиновский, бесспорно, находится в их числе.

Летний список — Обзор книг на лето для 10 класса

Естественно, начнем с самого объемного произведения, без которого не обходится ни одна школьная программа, — с романа-эпопеи «Война и мир» (издательство «Эксмо»).

Летний список — Обзор книг на лето для 9 класса

«Слово о полку Игореве» (Издательский Дом Мещерякова) — это известный памятник древнерусской литературы, датированный концом XII века. В основе сюжета — неудачный поход на половцев, предпринятый новгород-северским князем Игорем Святославичем в 1185 году.

Летний список — Обзор книг на лето для 8 класса

Пушкин — наше все, поэтому куда же мы без «Капитанской дочки» (издательство «Клевер»)? Помимо самого текста повести, в это издание включены критические статьи, классические иллюстрации, тематические врезы, интересные факты о создании повести, а также вымышленное интервью с писателем. И еще одно произведение великого русского классика в школьной программе восьмиклассников.

Летний список — Обзор книг на лето для 7 класса

Былина о находчивом новгородском гусляре «Садко» (издательство «Рипол Классик») из года в год изучается в школах, она хорошо знакома многим взрослым и детям.

Летний список — Обзор книг на лето для 6 класса

Повесть Льва Николаевича Толстого «Хаджи-Мурат» (издательство «Клевер») знакомит детей с событиями Кавказской войны и рассказывает о трагической судьбе главного героя.

Летний список — Обзор книг на лето для 5 класса

Рассказ Куприна «Чудесный доктор» (издательство «Нигма») затрагивает самые сокровенные чувства читателей, учит состраданию, бескорыстию, человечности, неравнодушию к окружающим, силе духа и оптимизму.

Гляделки и смотрелки — Обзор лучших книжек-картинок

О том, как можно обрести друга в новом для себя городе, расскажет книжка-картинка «Оливер и Пэтч» (издательство «Поляндрия»). Многочисленные яркие и веселые иллюстрации к этой доброй и трогательной истории нарисовала молодая английская художница Кейт Хиндли.

Победное шествие — Обзор лучших детских книг к 70-летию Победы

Рассказывать о войне никогда не рано, и книга Анатолия Митяева «Подвиг солдата» (издательство «Речь») лишний раз это подтверждает. В сборник вошли шесть рассказов, по-доброму раскрывающих военные будни, простые жизненные ситуации, которые случались в то время с обыкновенными людьми — солдат пишет письмо матери, неопытный боец в первый раз роет окоп, два друга-танкиста не бросают друг друга в беде… Что немаловажно, каждая история заканчивается хорошо.

Красота спасет мир — Обзор книг с самыми красивыми иллюстрациями современных зарубежных художников

«Линдберг. Невероятные приключения летающего мышонка» (издательство «Поляндрия») — это сказочная история о мышонке, который мечтает пересечь Атлантический океан и намеревается создать для этого летательный аппарат.

Красота в действии — Обзор книг с самыми красивыми иллюстрациями современных русских художников

Когда в книге сначала появляются иллюстрации и только потом — текст, это действительно необычно. Сборник стихотворений Игоря Шевчука «На краю детства» (издательство «Детгиз») создавался именно таким путем.

Пасхальный звон — Обзор лучших детских книг для чтения на Пасху

Классики русской литературы нередко затрагивали тему Пасхи в своих произведениях, и издательство «Никея» собрало эти стихи и пасхальные рассказы воедино и выпустило «Пасхальную книгу для детей».

День смеха — Обзор самых веселых детских книг

Анна Никольская способна даже такую консервативную тему, как воспитание детей, перевернуть с ног на голову! Ее «Чемодановна» (издательство «Росмэн») — это непоучительная, но очень веселая сказочная повесть, в которой нашлось место и для настоящего чуда, и для захватывающих приключений, и для эффектных разоблачений.

Каникулярное чтение — Обзор лучших книг для чтения на весенних каникулах

Если во время каникул никаких путешествий не предвидится, то стоит хотя бы о путешествии прочитать. «Мальчик и Медведь в лодке» Дэйва Шелтона (издательство «Поляндрия») — это удивительная повесть-сказка о странствиях, о рождении настоящей дружбы, о ценности взаимоотношений и о том, как важно сохранять оптимизм и радоваться даже самым простым вещам.

«Весна идет, весне дорогу!» — Обзор лучших книг о весне для самых маленьких

«Зеленая книга весны» (издательство «Карьера пресс») отвечает на множество детских вопросов об этом времени года: что такое день весеннего равноденствия, почему весной идет снег с дождем, какие изменения происходят в природе.

В ожидании… праздника — Обзор детских книг к 8 марта

Когда тебе пять лет, то кажется, что ты умеешь все! Ну или почти все. Так думает и Лотта из книги Астрид Линдгрен «Про Лотту с Горластой улицы» (издательство «Махаон»), и у нее есть на то все основания.

В некотором царстве… — Обзор лучших изданий русских народных сказок

Русская народная сказка «Сивка-бурка» (издательство «Рипол-классик») не теряет своего очарования и по-прежнему вызывает восторг у маленьких читателей, а выражение «Сивка-бурка, вещий каурка!

Мальчишеское чтение — Обзор детских книг к 23 февраля

Озорным, веселым, непослушным и непоседливым мальчишкам, которым буквально на месте не сидится, будут близки истории про малыша Николя. Например, книга «Малыш Николя путешествует» (издательство «Махаон»), в которой простые житейские ситуации, происходящие с завидным постоянством в любой семье, обыгрываются автором Рене Госинни с искрометным юмором, понятным не только детям, но и их родителям. Внутри каждого папы живет маленький мальчик, и книга «Мой папа — мальчик» (издательство «Клевер») прекрасно обыгрывает эту общеизвестную истину, да еще и с юмором.

Сам себе творец — Обзор книг для детского творчества

Иногда для того, чтобы запустить процесс творчества, ребенку нужны хорошие идеи, которые подскажут, в каком направлении стоит творить. «Художественная мастерская для малышей» (издательство «Питер») — это 52 небольших урока по различным творческим направлениям, в числе которых — рисование льдом, рисование на ткани, рисование тушью, оп-арт, создание коллажей, бумажных ваз и многое другое.

Сонное царство — Обзор книг, которые стоит читать детям на ночь

Большой Медведь из книги «Почему ты не спишь?» (издательство «Поляндрия) никак не мог уговорить Медвежонка заснуть. И чего он только не предпринимал — все безрезультатно, ведь Медвежонок очень боится темноты.

Торжество рифмы — Обзор лучших книг детских стихов

Стихи Даниила Хармса не нуждаются в представлении, их неизменно любят и взрослые, и дети. В его сборник «Все бегут, летят и скачут» (издательство «Махаон») вошли забавные, веселые, ироничные, динамичные стихи с простым сюжетом, которые хорошо знакомы многим сегодняшним родителям.

Зимние забавы — Обзор лучших книг о зиме для самых маленьких

«Красная книга зимы» (издательство «Карьера пресс») отвечает на множество детских вопросов о зиме: «Как получается снег?», «Откуда берется лед?», «Почему опали листья?».

Пора в путь-дорогу… — Обзор лучших путеводителей для детей и подростков

В издательстве «Карьера Пресс» вышла целая серия путеводителей, составленных и нарисованных Мирославом Шашеком еще в 1959 году и давно признанных непревзойденной мировой классикой.

Лучшие детские книги 2014 года по версии KidReader.ru

В 2014 году издательства порадовали детей и их родителей множеством прекрасных новинок, некоторые из них заслуживают особого внимания. Книги с лучшими иллюстрациями, с лучшим стихотворным текстом, книги на социально важные темы, лучшие книги по воспитанию… Были и другие критерии.

В преддверии волшебства — обзор самых красивых новогодних книг для детей

Какая зима без этой вечной сказки? Переиздание уже выходившей в свет «Снежной королевы» (издательство «Эксмо») представляет известная российская художница — Ника Гольц, которую мы знаем по работам над такими сказками, как «Щелкунчик», «Маленький принц», «Спящая красавица» и «Дюймовочка».

Старое доброе ретро — Обзор лучших современных изданий советских произведений для детей

Повесть Елены Верейской «Три девочки. История одной квартиры» была впервые напечатана в 1948 году в Лениздате, а совсем недавно вышла в издательстве «Речь».

Ученье — свет. Обзор лучших познавательных книг для детей

Школьные предметы перестают казаться скучными, если изучать их не только за партой по классическому учебнику, но и с помощью научно-популярной литературы.

Триумф цвета — обзор книг с иллюстрациями Татьяны Мавриной

«Бабочки» помогут детям прочувствовать появление первых весенних цветов, испытать «вербное настроение», пережить маленькое приключение мальчика Паши и увидеть воздух. Книга с весенним настроением впервые была издана в 1987 году и написана совместно с советским детским писателем – Юрием Ковалем. Нет ничего зазорного в разговорах с цветами или в опаске волков, правда? А чем же отличается простая рука от руки художника и что делать с заячьим букетом? «Жеребенок» ответит на эти вопросы, а еще расскажет, чем летний кот не похож на осеннего. «Заячьи тропы».

Осеннее настроение — Обзор лучших книг об осени для самых маленьких

На осеннюю тему в издательстве «КомпасГид» вышли целых две книги, и обе они написаны педагогом Мариной Аромштам. Книга «Как Осень замуж выходила» рассказывает о том, почему именно осень выглядит так ярко.

Отдых с книгой — Обзор лучших детских книг для чтения на осенних каникулах

Школьные каникулы и приключения неразрывно связаны, а читать о чужих приключениях может быть не менее увлекательно, чем совершать свои. Яркое подтверждение тому — книга Кира Булычева «Конец Атлантиды» (Издательский Дом Мещерякова).

Уже не дети, еще не взрослые — Обзор книг для родителей подростков

Когда можно вмешиваться в жизнь своего ребенка, а когда не стоит? Как воспитывать, чтобы не ранить, чтобы не ущемить достоинство своего отпрыска? Ответ не всегда очевиден, а книга Гюру Эйестада «Самооценка у детей и подростков» (издательство «Альпина Паблишер») помогает разобраться в подобных тонкостях.

Продолжение следует… — Обзор книг для родителей младших школьников

У Адель Фабер и Элейн Мазлиш есть целых две полезных книги по воспитанию детей: «Как говорить, чтобы дети слушали, и как слушать, чтобы дети говорили» и «Как говорить с детьми, чтобы они учились» (издательство «Эксмо»). В первой книге речь идет о детях всех возрастов (от дошкольников до подростков).

Обзор книг для родителей по воспитанию детей раннего возраста

Книгу «Как вырастить ребенка счастливым» (издательство «Генезис») можно читать даже тем, кто только готовится стать родителем. Американский психотерапевт Жан Ледлофф подводит настоящих и будущих мам к тому, что родительская любовь и контакт с ребенком намного важнее, чем советы Ваших близких, а материнская интуиция может стать огромным помощником в воспитании.

Маленькие шедевры — Обзор лучших детских книг в мягкой обложке

Поучительная история «Хочу как ты» (издательство «Фома») расскажет детям о том, как трудно порой бывает принять и полюбить себя таким, какой ты есть, но как это необходимо каждому из нас.

Летнее чтение — Обзор книг, которые стоит прочитать этим летом

Какое же лето без книги Астрид Линдгрен? Особенным летним настроением отличаются истории про мальчика Калле, который мечтает стать выдающимся сыщиком, не уступающим ни Шерлоку Холмсу, ни Эркюлю Пуаро.

Просто глаз не оторвать: Обзор лучших книжек-картинок

Для тех, кто любит совмещать приятное с полезным, издательство «Карьера-пресс» выпустило книгу «Пять лепестков и миллиард звезд» Анн-Софи Боманн и Анн-Лиз Бутан.

Книги о девчонках и для девчонок. Обзор детских книг к 8 марта

КidReader.ru представляет обзор лучших детских книг к празднику 8 марта. Как же в такой праздник обойтись без сладкого? Книга Анны Никольской «Кондитерские истории» (издательство «Клевер») — тот самый десерт, который придется по вкусу маленьким читательницам.

Книжки — для мальчишки. Обзор детских книг к 23 февраля

Героем на все времена, символом отваги и мужества с незапамятных времен стал король Артур. Сколько поколений мальчишек зачитывалось легендами о рыцарях Круглого стола, о волшебнике Мерлине, красавице Изольде, мече Эскалибуре и славном городе Камелоте.

Лучшие иллюстрированные детские книги современных зарубежных авторов по версии KidReader.ru

Предлагаем вашему вниманию обзор лучших иллюстрированных изданий зарубежных писателей, выпущенных в России в 2013 году. 1. «Элмер» (авт. Дэвид МакКи), изд-во «Самокат» Британский сказочник-иллюстратор Дэвид МакКи написал и проиллюстрировал несколько увлекательных и поучительных историй из жизни разноцветного слона Элмера.

Лучшие детские книги 2013 года по версии KidReader.ru

Этот, 2013 год, был очень плодотворным для издательств, выпускающих детскую литературу, но некоторые детские книги, выпущенные в этом году, хочется отметить особо.

Хеллоуин: обзор самых «страшных» книг

Тридцать первого октября, как известно каждому современному ребенку и его продвинутым родителям, часть человечества, желающая попугаться и попугать, отмечает Хэллоуин.

Маленькие заметки о стихах для маленьких

Я сам, или кто такие космонавты Мой знакомый, трехлетний Макс, однажды внимательно изучал радугу, возникшую в небе после ливня. Когда радуга исчезла, он спросил: «Мама, а почему кончилась радуга?» – «Не знаю, – ответила мама, – наверное, потому, что все красивое кончается».

Дао детского писателя. Советы начинающим

Вы решили стать детским писателем. Не знаю, почему это с вами случилось. Возможно, придумали дочке пару рассказиков про кошку Бульку и динозавра Родиона — и дочка с восторгом требует «Еще!».

В школе будет интересно! Обзор новинок про школьников и школьную жизнь

В книгах о школьной жизни, которыми радуют в конце лета многие издательства, речь идет о детских проблемах и переживаниях, о необходимости взросления, и, конечно же, о бесконечных выдумках и приключениях, в которые попадают дети.

Резьба по жести

Завтра у девятилетнего Саши Зайчика важный день: он должен стать пионером, причем галстук ему самому и его одноклассникам повяжет не кто-нибудь, а Сашин папа — настоящий коммунист и герой органов, лично разоблачивший не один десяток вредителей.

Книжные новинки подростковой литературы. Часть 2

Продолжим разговор о книжных новинках (первая часть обзора была опубликована ранее), которые могут быть интересны подросткам. Так получилось, что все книги, о которых пойдет рассказ, в книжных магазинах запросто могут оказаться задвинутыми в рубрику или на полку-резервацию «для девочек и о девочках», потому что продавцы частенько ориентируются только на заглавия и аннотации.

Новинки для подростков: рыбалка в книжном море. Часть 1

Подростковая литература, как известно, — самая тяжелая для издателей часть детского книжного рынка. Ведь подростки сегодня почти не читают. Родители разводят руками: «Моему ребенку это совсем не интересно…» Может быть, именно поэтому опыты самых упорных и настойчивых издателей литературы для подростков так интересны? В первой части обзора зарубежной подростковой литературы KidReader.ru рассказывает о книгах англичанки Дианы Уинн Джонс и нашумевшем бестселлера Джеффа Кинни «Дневник слабака». Издательство «Азбука» выпустило сразу три книги английской писательницы Дианы Уинн Джонс («Моя тетушка — ведьма», «Рыцарь на золотом коне» и «Ловушка для волшебников», Азбука, 2012, 2013).

Памела Друкерман: почему французские родители лучше

Когда моей дочери было 18 месяцев, мы решили взять ее c собой в отпуск. Выбрав городок в нескольких часах езды от Парижа, мы забронировали номер в гостинице.

Открытие книги

Не затеряется ли литература вообще на фоне уроков русского языка, когда в силу вступят новые стандарты образования для старшей школы и два предмета могут объединить в один курс — "словесность"? — Это будет зависеть от конкретных программ и учебников, — считает учитель русского языка и литературы 57-й московской школы Сергей Волков.

Чудесный мир Квентина

В 2012 году издательство «ЭНАС-КНИГА» выпустило сразу пять авторских работ Квентина Гребана, а издательство «Поляндрия» — еще три. Все восемь — книжки с картинками, то есть состоят из небольшого количества текста и большого количества «фирменных» гребановских иллюстраций.

В том-то и разница. Заметки безумного родителя

Это все ваши дети? — неоднократно спрашивали меня кубинки. — У них такая маленькая разница в возрасте?» За десять лет я родила троих детей.

Сочинение литературы

Недавно в московских магазинах появилась в продаже учебная программа, составленная на основе нового образовательного стандарта Российской академией образования. Обнаружилось, что школьники не будут больше изучать Куприна, Лескова, Алексея Толстого, Астафьева и Вампилова — их заменят Улицкая, Пелевин, Аксенов и Домбровский с Маканиным.

Гальванизация лягушки

Очень долгое время у меня в голове ничего не складывалось: как так получается, что с детской литературой у нас все хорошо (серьезно, это уже аксиома), но что такое детская литература — никто не знает? Почему интерес к детлиту растет, а отечественных авторов не сказать, чтобы становилось больше? Наконец, почему же детскую литературу при всей ее невероятной популярности изучают в двух с половиной вузах на всю страну? И вот не так давно до меня наконец дошло, в чем дело.

Новая детская литература

Прорицание и вершение литературных судеб испокон веков казалось у нас более почетным и притягательным занятием, нежели скромная описательная наука, а потому, заводя разговор о тенденциях в искусстве, критики в массе своей тут же берутся рассуждать о пользе, значении и перспективах исследуемого объекта прежде (а как правило, и вместо) того, чтобы составить о нем представление в целом.

Лучшие детские книги 2012 года по версии KidReader.ru

При составлении нашего рейтинга детских книг мы учитывали издания, выпущенные в России в 2012 году. Эти книги, по мнению редакции, может позволить себе российский родитель/родительница не разорившись (ну или почти не разорившись :).

Книжные бренды: меняем концепции

Статистика книжной отрасли в 2012 году показывает дальнейшее падение продаж и в экземплярах, и в рублёвом эквиваленте. Кризис можно пытаться переждать, но куда верней активный поиск новых решений и форм работы с книгой.

5 детских книжек для пап

Но обычно у детей все-таки есть мама. Про мам нередко пишут стихи и сказки, вот и в песне поется «Пусть всегда будет мама», а про папу ни слова.

Детская литература вчера и сегодня. А завтра?

В круге детской литературы, как и в любом явлении, циркулирует множество мифов. Например, в середине ХХ века меня без устали уверяли, что детской литературы до 1917 года не существовало вовсе, зато уж после октябрьского переворота начался бурный ее расцвет.

Что почитать детям?

Новорожденным обычно все равно, что им читают и поют. Многие с удовольствием засыпают под Бетховена, а едят под Блейка (или наоборот).

Михаил Иванов: «Нам интересно менять правила в пользу покупателей»

На самом деле магазину «Подписные издания» уже 86 лет. Просто один из старейших книжных города решил обновить свой интерьер. И очень кстати.

Рынок детской литературы: Циферки от паники

И правда, в последнее время то и дело натыкаешься на панические заголовки, констатирующие крах и смерть детско-подростковой литературы. Особенно в этом преуспело РИА «Новости».

Как привлечь ребёнка к чтению? Советует Михаил Яснов

Главное в книге - любовь! На всех уровнях. Когда я был маленький, моя семья: мама, папа, старшая сестренка, кот Васька и я, мы все садились раз в неделю вокруг обеденного стола, доставали ту книжку, которую я приготовил, и по кругу вслух ее читали.

Борис Кузнецов: «Для ребенка электронная книга быстро становится недоделанной игрой»

В России все идет тем же маршрутом. На руках у наших читателей сейчас не менее 3 млн аналогичных устройств. И это не говоря об iPad, смартфонах и прочих девайсах, на которых тоже можно почитать книгу. Прямо на наших глазах начинает разваливаться такой привычный и стабильный книжный бизнес.

Детская литература может спасти российский книжный бизнес

Согласно данным Российской книжной палаты, число детских книг сократилось с 131,9 миллиона экземпляров в 2010 году до 102,6 миллионов в 2011 году.

Дина Сабитова и три ее "детдомовских" книги

Проблемам сиротства, приемных детей Дина Сабитова посвятила три книги: «Где нет зимы», «Три твоих имени» и «Сказки про Марту». Вот что она сама рассказывает об этом: «В тот год, когда я получила премию, мы взяли из детдома ребенка.

Дмитрий Бабич: «Почему дети стесняются читать»

"Я читаю "Джейн Эйр" Шарлотты Бронте. Только вы об этом никому не говорите! Можно, мы с вами о ней поговорим, когда выйдем из школы?" – девочка-подросток (назовем ее Анной) смущенно мяла в руках школьную сумку.

Доклад Константина Чеченева: «Доступность и востребованность детской книги»

10 марта 2011 годав состоялся круглый стол «Книгоиздание и телевидение для детей и юношества. Взаимодействие государства, бизнеса и общественности», организованный Общественным Советом при Федеральном агентстве по печати и массовым коммуникациям. Предлагаем вниманию читателей доклад Константина Чеченева — генерального директора издательства «Белый город» и президента Ассоциации книгоиздателей России, сделанный в рамках данного круглого стола. Тема моего сегодняшнего выступления «Доступность и востребованность детской книги».

Потребительские предпочтения на рынке детской литературы

В первом квартале 2010 года специалисты компании inFOLIO Research Group провели исследование потребительских предпочтений на московском рынке детской литературы среди активных пользователей всемирной сети Интернет.

До 16 и младше: факты и заблуждения о детской литературе

Разговор книгопродавца с читателем Современное книжное дело воздействует на книжный рынок, скажем так, не вполне позитивно. Прежде всего, книжное дело сконцентрировано в столице, и далеко не все регионы в состоянии «забирать» из Москвы полноценный, широкий ассортимент и распространять его на местах.

Розовые жирафы, машины творения и другие

В последнее время складывается впечатление, что в одном из сегментов нашего не самого благополучного книжного рынка, а именно в детском, происходит неожиданное оживление.

Для младшего женского возраста

Заглядывая в детские отделы книжных магазинов, замечаешь тенденцию последнего времени: издатели стремятся разделить детскую литературу на книги для мальчиков и книги для девочек, причем последних на прилавках неизмеримо больше.

Книги на колесиках

Прежде чем зарегистрировать «Самокат», долго выбирали из 200 названий, придуманных вместе с детьми. Сразу же решили выпускать переводные книги, бывшие когда-то бестселлерами за рубежом и хорошо продающиеся не один год.

Исследование потребительских предпочтений на рынке детской литературы

Идеальная книга для дошкольников Итоги фокус-группы, в которой принимали участие женщины 20-65 лет. Мальчики и девочки Прежде всего, родители хотели бы видеть в книге помощника, который бы смог сформировать у ребенка представление о своем месте в семье, адаптировать к жизни в социуме, сформировать личностные качества.

Чем привлекает издателей рынок детской литературы

В Госдуме готовится к рассмотрению законопроект "О защите детей от информации, причиняющей вред их здоровью и развитию". Предполагается, что предназначенная для юного поколения печатная продукция будет поделена на категории в зависимости от ее воздействия на психику ребенка.

Мультгерои выйдут в тираж

Издательство АСТ заключило с ФГУП "Фильмофонд киностудии "Союзмультфильм"" эксклюзивный договор на право использования мультипликационных кадров советских анимационных фильмов (в том числе "Ну погоди!" и "Каникулы в Простоквашино") в печатных изданиях.

Питательное чтиво

Несмотря на то что выражение «самая читающая страна в мире» применительно к России утратило свою актуальность, роль книги в нашем обществе по-прежнему остается особой, не такой, как в других странах.

Детпросвет: ревизия

Детские книги, призванные не только развлекать, но и сообщать что-то новое о мире, в последнее время перестают быть редкостью. К привычным «энциклопедиям школьника» добавились издания самых разных жанров и типов, рассчитанные как на продвинутую, так и на самую юную читательскую аудиторию.

Обзоры

Новости

Встреча книжного клуба «Разберемся!» в РГДБ

Объявлены темы рассказов четвертого сезона конкурса «Класс!»

Объявлены лауреаты второго сезона премии «Большая сказка» имени Успенского

Объявлен конкурс на лучшее произведение о Петре I

«Россия сквозь призму детских книг»: итоги

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