The children's subculture is the world that the children's community has created "for itself" throughout sociogenesis. Researchers identify many components that are characteristic of the children's subculture. Let's consider the most striking of them.

First of all, it is necessary to highlight children's play, which is the main companion of childhood. The game helps children to master the experience of human activity.

D.B. Elkonin studied the meaning of play for a child. In his book "The Psychology of Play", he notes: "Play in preschool age is especially sensitive to the sphere of human activity and interpersonal relations, and the establishment that the main content of play is a person - his activities and the relationship of adults to each other, and because of this, play is form of orientation in the tasks and motives of human activity "V. Kudryavtsev, T. Alieva emphasize that play is a kind of way to bridge the gap between adults and children. In play, children learn the general meanings and motives of human activity, reproduce the social relations that develop in the world of adults. Through play, children are included in the life of adults, satisfying their needs for involvement in this life.

V. Abramenkova notes that "a traditional game is not just a reproduction by the children's community of the historically established relations of adults, but a rethinking of these relations and the definition of their original place in the world."

In games, a child has a great opportunity to actively act, learning about the world around him, mastering relationships between people, modeling them, improving his behavior and learning to control it. Group games are of great importance here, which are of a special interactive nature and involve strict rules, changing positions in the game process, putting oneself in the place of another. Such games include such traditional Russian games as "Zhmurki", "Burners", "Cossacks-robbers", "Lapta", "Boyars" and others.

Many folk games are associated with calendar holidays. They reproduce adult life: harvest, sowing, hunting. In these games, the child gets acquainted with the difficult peasant labor, learns to value and respect him.

The number of games reflecting the work of people is great. These are "Radish", "Peas", "Hops" and others. All of them not only show all the variety of work, but also teach to appreciate it, to express their attitude to what is happening.

All Russian holidays were attended by children. Among them is a Russian wedding. It was believed that by playing the wedding, their comic actions, children bless the young for a happy marriage.

A comic wedding had its own magical power, it was a talisman of a real wedding. In addition, she played a social role, introducing children in a playful way to the serious rite of adults.

Children's folklore is the most important component of children's subculture. According to M.V. Osorina's children's folklore is "one of the forms of collective creativity of children, realized and consolidated in the system of stable oral texts, transmitted directly from generation to generation of children and are important in regulating their play and communication activities."

Children's folklore is based on works by adults. These works, passed down from generation to generation, are used to communicate with children. These include all kinds of lullabies, counting rhymes, pestushki, jokes, fairy tales, riddles, games, etc., which are maximally adapted to the perception of children.

As a rule, these works are not broadcast in the children's environment in their pure form, and the children themselves do not refer to them spontaneously. But nevertheless, they become the property of the children's subculture, while losing their functions and acquiring new ones, since children in every possible way modify them, saturate them with non-trivial information. Therefore, the works of children's folklore in various modifications can be passed from generation to generation orally.

Children's folklore can show two mutually contradictory characteristics of children's subculture. Retaining and reproducing in itself texts, games, rituals, the "age" of which is calculated in decades and centuries, the children's subculture is quite conservative. At the same time, it is quite dynamic due to the fact that no work in it has only one version. Usually, you can find several "versions" of the same folklore work.

Children have the opportunity to endow the works of folklore with new meanings, which develops their imagination, introduces them to the processes of cultural creativity. This shows the democracy of the child's subculture, which is open to change and development. She invites any child to become her author. It should be noted that variability is characteristic of almost all components of the children's subculture.

Lullabies, nursery rhymes and jokes help the child get acquainted with the simplest model of the world around them, reveal the principles of family life, form the basis of trust in loved ones and the world in general. The house in the works of children's folklore appears as a protection from the dangerous outside world, where "you don't need to go" yet. The child's place in the house is the nicest and most beautiful, and the mother is the most caring and best. The family becomes a symbol of protection and reliability.

In children's folklore, terrible fantasies are also reflected, orally transmitted from generation to generation of children. M. Osorina singles out one of the most widespread on the territory of Russia storyline, which tells how a certain family with children lives in a room where there is a suspicious stain on the wall or ceiling. It can be yellow, red or black. Sometimes the stain is found when moving to a new apartment. It happens that one of the family members puts it accidentally (dripping with black ink). The heroes of the plot are trying to wipe this stain to no avail. At night, the stain begins to manifest its sinister nature. It begins to grow slowly, and from it a huge hand appears, in accordance with the color of the spot, carrying all family members from night to night into the spot. As a rule, the hand can be traced. Then they call the police, set up an ambush, chop off this hand and find a witch, a bandit or a spy in the attic. In the end, all family members can come alive.

The researchers noted that individual scary children's fantasies are characterized by the motive of taking the child from the space of the house to another world. This motive is reflected in the texts of collective children's folklore (the story of the child leaving inside the picture hanging on the wall). It is also found in literature for children, for example, "Alice Through the Looking Glass". Subcultural forms sometimes play an important role in the child's mastery of the content of universal values. This form is spontaneous children's problematization. More often they are expressed in the form of questions on the transformation of the ordinary into the unusual, suggest going beyond ordinary cause-and-effect relationships. Questions serve as a means of expanding children's consciousness, orient both the child and the adult towards dynamic communication and creative cooperation, create a situation in which a creative search is necessary, joint for the adult and the child. Researchers call these phenomena "children's philosophizing", which forms a special component of the subculture of childhood.

"Philosophizing" can be children's reflections on nature, life, space, good and evil, soul, thought and much more. They are mostly indirect in nature, but still touch upon the issues of human existence. "Philosophical themes" of children in many ways create that original picture of the world, which is born in their minds. Usually this picture combines everything necessary and accidental, general and particular, real and fictional. It does not so much order reality as it asks questions, destroying the obvious. This is the beginning of human knowledge, which has a creative nature. The subcultural phenomenon of cognition helps the child to become more deeply involved in the creative experience of people.

Children's word-creation takes a significant place within the children's subculture. It is a kind of challenge to the consciousness of adults, limited by ready-made social experience.

In attempts to create words, the child tries to separate his unique speech from the speech of adults, at the same time encouraging adults to communicate. Word creation is a means of isolating a child, his call for creative unity with an adult.

Being engaged in word creation, children make the word more alive and substantive, flexible and plastic, absorbing all possible shades of its meaning. Children release the power coiled in the linguistic and grammatical norms of the language. We can say that they give the language life in the culture, not letting it die.

As V. Kudryavtsev and T. Alieva note, the subculture of childhood is not elite, but "massive", its experience to one degree or another is mastered by every person. It is this feature that provides tremendous language capabilities that are not limited to professional literary texts. In word-creation, children unconsciously reveal the reserve potential of their native language, which is hidden for most adults: "mallet", "kusarik", "mazelin", "mocress".

Shifters are a remarkable area of \u200b\u200bthe phenomena of children's subculture. "Chaps are special literary works, where the usual state of affairs, suggested by common sense, is turned inside out, everyday generally accepted ideas about the environment are problematized." They draw their origins from the folk culture of laughter and small folklore genres, designed for children:

"The village drove past the peasant,

Look, the gate barks from under the dog. "

"He's on a piebald cart, on an oak horse."

In various cultures, this "flipping" was considered a means of expanding the creative abilities of children and adults. His moment always made sense in science, invention, art. At the preschool age, "shifters" have a special meaning. It is no accident that K. Chukovsky called them "stucco absurdities." A kid, in order to perceive the world as it is, must first see it upside down. This is due to the peculiarity of the vision of newborns. And only gradually the picture is straightened out. Researchers attribute the same to the mental and spiritual vision of a child, which explains the contradictory and paradoxical nature of the child's picture of the world, in which everything is constantly changing places, endowed with unusual properties and capabilities. The pedagogical value of shape-shifters lies in the fact that in them the child exposes fantasies and serves the triumph of reason, tries to reassert himself in the knowledge of the "norm" in a new way.

The rhyme genre, characteristic of the children's subculture, is unique. It has no analogues in adult folklore and, together with the draw, represents a kind of preparation for the game. This is a necessary attribute of the game and a culturally represented implementation of the distribution of roles:

"A month came out of the fog,

He took a knife out of his pocket.

I will cut, I will beat -

You don't care to drive! "

The rhyme helps to eliminate unwanted conflicts in the children's environment about the game, enriches traditional texts.

Teasers ridicule children's flaws and misdeeds: sneering, stupidity, boasting, greed, tearfulness:

"Greedy beef, pickled cucumber,

Lying on the floor, no one eats it! "

Consultation "Children's subculture"

Very often, parents do not know and do not see the specifics of the existence and development of a child's subculture. The efforts of adults are mainly aimed at understanding the external, objective form of existence of the world of childhood, which distinguishes children into a special demographic group and presupposes the presence of certain attributes of its existence, communication rules, educational techniques, customs, traditions aimed at both the transfer of socio-cultural experience and their "social combing".

However, the world of childhood exists as an objective reality in which each child and children's society as a whole create and live their own unique world, which is characterized by distinctive features of perception and cognition of the social world, as well as unique ways of constructing the cultural and educational space of life of each of its members ...

Children's subculture is a special system of socio-psychological signs, components, attributes that affect the lifestyle and thinking of children, allowing them to realize and assert themselves as "we", different from "they".

A non-institutionalized form of childhood social education that regulates the interaction of children within their own group and at the level of age subgroups. The bearers of the main cultural values \u200b\u200bare the children's community, which translates them through the corresponding traditions, rituals, etc.

Children's legal code, revealing the originality of norms of behavior, relationships with peers, including the rules for entering and leaving various forms and types of children's activities, ritual components of children's communication (for example, conciliatory rituals);
- specific methods of educational influences on peers, the resolution of controversial, conflict situations (for example, teasers, name-calling);
- children's folklore (jokes, nursery rhymes, rhymes);
- hobbies: collecting for children (treasures, secrets, hiding places, collecting);
- ways and forms of free time (various types of play and productive activities, trips to "scary places" (basements, attics, abandoned houses) and places forbidden by adults to visit (construction sites, landfills), telling scary stories;
- Children's fashion;
- subcultural forms that play a decisive role in the process of mastering the content of universal human values: children's problematization, children's philosophizing, word-creation, the laughing world of childhood (shape-shifters, absurdities, stories-fables, "black humor", fairy-tale world);
- children's picture of the world, that is, a special system of worldview knowledge.

Thanks to the child's subculture, which from generation to generation conveys specific ways of organizing children's activities, norms and values \u200b\u200bof perception of the world, relationships with peers, the child finds his own essence, constructs his own world.

Teasers and name-calling, ridiculing sneering, tearfulness, greed, perform an educational function, and also help the child defend himself against peer attacks in the form of verbal self-defense, train emotional stability.

Lullabies, nursery rhymes, jokes introduce children to the simplest model of the world order (home, as a protection from the dangerous outside world, where for the time being it is not necessary to go); reveal the principles of family life, form basic trust in loved ones and the world as a whole (the child's place in the house is the best and most beautiful, the mother is the best and caring, the family is protection and reliability).

Children's gathering enables the child to materialize his secret presence in a particular place and to assert himself through these objects ("I am", "I can"), helps to experience the feeling of loneliness of individual existence, which arises as a result of the emerging personal autonomy.

Preferred sources of information.

Books.

First of all, these are fairy tales, then comics, children's encyclopedias, books about animals, popular science, historical literature.

The television.

Children watch a variety of programs. First of all, these are, of course, cartoons and children's films. Children are very willing to watch entertainment programs. TV series for adults also attract the attention of children. And very rarely TV shows of the cognitive cycle.

Children's collecting.

Children's collecting is, first of all, a designation of property (children love it very much if there is a lot of something), and not an opportunity to expand their horizons. Therefore, adults should pay attention to the educational nature of children's collecting.

Let us dwell briefly on the characteristics of some components of the children's subculture.

Children's folklore

For example, the poem "One, two, three, four, five a bunny came out for a walk" was published in 1851, it was a caption to a picture in a children's book, by poet Fyodor Miller. At the moment there are many versions of these poems, adapted by children for different occasions (songs, counting rhymes, etc.)

A unique genre of children's folklore, which has no analogues in adult folklore - counting rhymes. Thanks to them, conflicts during play are regulated in the children's environment.

Teasers, otherwise they are called jerseys or lickers. They originate in the everyday life of adults. On the basis of discord and clashes, adults gave each other nicknames and nicknames, and the children adopted this manner from them. A teaser is an extended nickname or nickname consists of a name and a rhymed position to it: Lenka-foam, Ksyushka-snotty.

Teasers ridicule children's flaws: greed, stupidity, bragging, tearfulness.

And at 4-5 years old, the teasers are impersonal: a roaring cow. Poison-snag, greedy-beef.

At 6-7 years old, offensive teasers already agree with the name. But at this age, children are already ready for psychological self-defense and response teasers-resistance appear: whoever calls names is called that.

Teasers have both an educational function and a regulatory one (observance of norms and rules in children's relations).

Teasers are always public, this is a test of psychological strength, they train children in self-defense skills.

Children's word-creation.

This is the active construction of speech by children. Children come up with new words by analogy with existing ones.

Brews-cooker, heals-healer.

The laughing world of childhood.

It includes:

Changes, absurdities, fables are special verbal works, where the usual state of affairs is turned inside out, the generally accepted idea of \u200b\u200bthe environment is problematized.

Horror stories.

Until the age of 5, many children are afraid of them. At 5-6 years old, they begin to play up the situation "scary" (to play ghosts). At 6-7 years old, verbal horror stories appear

In general, for a child, going through the test of a horror story is a transition to a higher age stage (only the little ones are afraid).

Sadistic rhymes.

A horror story from the mid-80s. Opinion about them is problematic. Some believe that evil is ridiculed, others say that this is evidence of the dehumanization of children's life.

Anecdotes.

Recorded in communication of children from 5 years of age. They contribute to the successful acceptance of the child into the team.

Collecting and gathering.

Collecting is a type of children's collecting, which is based on the principle of combining and systematizing material. The collection is social and related to the life of a child in a peer group: fashion, rivalry, exchange relationships.

After 5 years, children have their own treasuries.

The secret (a hole in the ground where something is buried) is one of the forms of children's design. Opens only to a select few, a common type of child's revenge is the destruction of each other's secrets.

Collecting and gathering gives the child credibility among peers and self-confidence.

Visiting scary places.

A group visit to scary places is one of the earliest attempts to independently explore and emotionally live significant elements of the environment of the formation of a children's myth about the world.

Over time, the children's subculture undergoes changes due to the peculiarities of reality. Old forms are transformed, new ones, characteristic of the given time, appear.

Cognition, understanding and acceptance by adults of the child's subculture and the child as the bearer and author of a certain cultural and subcultural experience will not only help in finding new approaches to building relationships between adults and children, interaction between the world of childhood and the world of adults, but will also help the child's socialization. Socialization is the process of development and self-development of a person in the course of assimilation and reproduction of socio-cultural experience.

Socialization is the adaptation of a person to society through the assimilation of social experience, values \u200b\u200band norms inherent in both society as a whole and individual groups.

Socialization is also the formation of one's own position and a unique individuality, a process of self-development and self-realization, during which a new socio-cultural experience is created.

Features of modern child socialization:

Early introduction to the world of adults (TV shows, parents do not hide the negative aspects of their life from preschool children (quarrels, foul language, drinking alcohol, topics of parents' conversations are not always acceptable for children); due to the current criminogenic situation, preschool children are less likely alone in the yards, and due to the employment of parents, this time is even more reduced, the computer and TV take up more space in the life of children than communication with peers, the property stratification of society also affects the communication of children, children have little free time (overload with organized activities , children visiting all kinds of schools, circles, studios).

Currently, only in a preschool institution, a child communicates with a large number of peers, therefore it is here that the children's subculture finds fertile ground, and this is very important.

Why is so much attention paid to the children's subculture now?

In the process of familiarizing with the children's subculture, conditions are created that contribute to the accumulation of social experience by the child, the development of his ability to enter children's society, to act together with others, i.e. carry out the process of social adaptation. At the same time, cognition of the world of peers, adults makes it possible to join the values \u200b\u200bof other people, to be aware of their own characteristics, preferences, interests, to correct and form their own system of values.

The child develops independence and responsibility (and these are the main values \u200b\u200bof the growing up system), the experience of interacting with others is expanded and enriched, social relations are built on the basis of their unique personal potential, the image of the student is formed as emotionally attractive and socially desirable internally.

Unlike author's (variable) programs (basic; additional), exemplary educational programs are not a specific working document that determines the content and specifics of the teacher's activities for every day.

In accordance with paragraph 5 of Art. 14 of the Law of the Russian Federation on Education ”the organization of development of model educational programs (hereinafter - model programs) is provided by the state educational authorities on the basis of State Standards. The purpose of developing model programs is to implement the requirements for the mandatory minimum of the content of basic educational programs, to broadly interpret state standards for each level of education, to ensure the continuity of general education between all its levels. In the field of preschool education, the basis for the preparation of exemplary programs in the absence of the State Standard for preschool education is its draft and "Temporary (approximate) requirements for the content and methods of education and training implemented in a preschool educational institution" (Appendix No. 2 to the order of the Ministry of Education of the Russian Federation dated 22.08. 96 No. 448).

In 2003, the first "Approximate general educational program for the upbringing, training and development of children of early and preschool age" was published (authors LA Paramonova, TN Alieva, etc.).

Sample programs are a guideline for drawing up the author's basic general education programs, developing calendar-thematic plans and create the necessary conditions for the teacher's creativity, free choice of forms and methods of raising and teaching a child in kindergarten.

Model programs necessarily establish the relationship between the federal and regional components of preschool education, provide for the allocation of the necessary time for the implementation of the regional component of education.

The choice of programs depends on the type of preschool educational institutions. It is necessary that the chosen program meets the assigned tasks of the preschool educational institution. It is not allowed to use programs in work with children that have not passed the appropriate examination at the federal or city level. At the Council of the labor collective or the Pedagogical Council, a decision should be made on the implementation of a particular program in the work of a preschool institution. The program chosen by the kindergarten is recorded in the kindergarten charter.

Preschool teachers need to acquaint parents with the programs and technologies that they use in their work, involve them in the educational process, and invite them to the Open Day. In the process of such interaction, adults begin to understand the child better, parents are more interested in the problems of the preschool institution and are actively involved in the choice of educational programs. The choice of the program is supported by the consent of the parents.

11. The phenomenon of preschool childhood and the subculture of a preschool child

Childhood - this is a period of active social "deployment" of a growing person and the development of socio-cultural achievements of society, a period of trial and self-determination in the social and socio-cultural space of the human world, which takes place in the constantly expanding and complicating contacts of a child with adults and other children, the adult community as a whole. Childhood - this is a period of enhanced development, change and learning, a period that lasts from newborn to full social and, therefore, psychological maturity; this is the period when the child becomes a full-fledged member of human society. At the same time, the duration of childhood in primitive society is not equal to the duration of childhood in the Middle Ages or today. The stages of human childhood are a product of history, and they are as subject to change as they were thousands of years ago. Therefore, it is impossible to study the childhood of a child and the laws of its formation outside the development of human society and the laws that determine its development. The length of childhood is in direct proportion to the level of material and spiritual culture of society.

An analysis of modern studies of childhood allows us to single out two main aspects that most succinctly and conceptually accumulate the main problems associated with the attitude of the adult world to childhood in the process of ensuring the multifaceted and multidimensional process of socialization of the younger generation.

The first aspect associated with the problem of understanding childhood as a special form of manifestation and a special state of social development. Being a complex, independent organism, childhood is an integral part of society, acts as a generalized subject of socialization and multifaceted relations, in which it objectively sets the tasks of interaction with adults, develops its socially significant world. The main goal of childhood in general and every child in particular is growing up - mastering, appropriating, realizing adulthood. But the same goal - "the growing up of children, which subjectively has a different focus - to ensure this growing up - is the main one for the adult world."

In accordance with this, the subject-object position, which adults occupy in relation to childhood, is also built. This is the position of the trainer and leader. The principle of influence is dominant in the attitude of adults towards children, and despite the constant declaration of the need to encourage an active position of the child, one-pointedness continues to prevail, which is expressed in the fact that “childhood is objectively perceived by adults as a kind of“ receiver ”(D.I. Feldstein), mastering and the appropriating impact of the adult community.

Thus, at the present stage, there is a discrepancy, on the one hand, of the educational system - its values \u200b\u200band results, and on the other - the system of growing up. The assimilation of adulthood, which should be understood as the assimilation of forms of independence and responsibility, turned out to be unselected in the education system and was replaced by various forms of cultural assimilation. Growing up takes place outside the education system, and education outside the growing up system.

Second aspect , revealing the specifics of the attitude of the world of adults to modern childhood, is associated with the problem of implementing the intermediary function of adults in introducing children to society. Unfortunately, in modern society, there is a tendency towards deformation of the relationship between the two generations. On the one hand, childhood is becoming more and more socially significant; the attitude of the adult community to childhood is characterized by humanity, child-centrism, the desire to secure a certain social status for the child, and some even absolutization of the significance of this period for the subsequent development of a person. On the other hand, the deep connections between the adult community and children are disrupted, the spiritual gap between them is increasing, the integral socio-psychological attitude of society to childhood is lost, which leads to the fact that children begin to be near, and not inside the adult world.

The 21st century is characterized by attempts to rethink the purpose of the world of childhood and the basic values \u200b\u200bof the attitude of the world of adulthood towards it, which creates favorable conditions for revising the principles of relations between the two worlds. There is a search for new approaches to building relationships between adults and children that meet the needs and interests of each child, defining space, content, ways of their mutual action (Sh.A. Amonashvili, I.V. Bestuzhev-Lada, B.S. Gershunsky, V. V. Gorshkova, S. Kulnevich, B. T. Likhachev, V. A. Petrovsky, S. D. Polyakov, M. M. Potashnik, S. N. Shcheglova, B. D. Elkonin, E. A. Yamburg and etc.).

A new understanding of the relationship between children and adults is presented in the works of modern scientists in the field of philosophy and history of education (B.S.Gershunsky, E.V. Bondarevskaya, S. Kulnevich, N.D. Nikandrov), psychology and pedagogy (V.T. Kudryavtsev , A. B. Orlov, D. I. Feldshtein, B. D. Elkonin).

In the humanistic psychology of childhood, principles of a new relationship between the world of adults and the world of childhood (A.B. Orlov), which should form the basis of pedagogical support and support for the social development of a modern child: the principles of equality, dialogism, coexistence, freedom, co-development, unity, acceptance. These principles underlie the development of a new humanistic paradigm in pedagogy - accommodative or centered on the world of childhood, contributing to the creation of psychological and pedagogical conditions for the successful accommodation of the world of adulthood to the world of childhood in order to harmonize and joint productive development.

In accordance with this, it is urgent to develop pedagogical foundations for constructing the world of childhood, which allow building pedagogically expedient strategies for interaction between children and adults and selecting educational technologies and methods adapted to the modern social needs of the younger generation.

One of the ways to overcome the one-sided approach in realizing the mediating role of adults and rethinking the subject-object position in relation to childhood in the process of socialization of an adult can be the cognition by adults of the features of the inner world of childhood, its originality, which are most fully revealed in the children's subculture.

Children's subculture - this is a special system of ideas about the world, values \u200b\u200bthat exist in the children's environment, a kind of culture in culture, living according to specific and original laws, although it is “built in” into the general cultural whole. Children's subculture is a variant of the objective social process of broadcasting culture, social experience from generation to generation, widespread in society. In a broad sense, it is everything that is created in human society for children and children; in a narrower one - the semantic space of values, attitudes, methods of activity and forms of communication carried out in children's communities in a particular historical situation of development.

In general human culture, the children's subculture occupies a subordinate place and at the same time it has relative autonomy, since in any society children have their own language, various forms of interaction, their own moral regulators of behavior, which are very stable for each age level and develop largely independently of adults.

One of the main features of the children's subculture is that, on the one hand, in it the world of childhood declares its difference from the world of adults, and on the other hand, the children's subculture is a hidden, dialogical appeal to the world of adults, an original way of mastering the adult social world , a way of self-affirmation in it (V.T.Kudryavtsev, D.I. Feldstein).

The existence of a child subculture has long been disputed. Slowly and gradually, the modern view of the child as a relatively independent and active social individual was formed. The gradual process of autonomization of the younger generation entailed. a formation in children's communities of their own world "for themselves", i.e. children's subculture relatively independent of adults.

A generalized analysis of the studies allowed us to highlight the following components of children's subculture:

children's legal code, revealing the originality of norms of behavior, interaction, relationships with peers. These are the rules for entering and exiting various forms and types of children's activities, various ritual components of children's communication (for example, conciliatory rituals),

specific methods of educational influences on peers and the resolution of controversial, conflict situations (for example, teasers, name-calling);

children's folklore: lullabies, jokes, nursery rhymes, rhymes;

peculiar hobbies: collecting for children (treasuries, secrets, hiding places), collecting for children;

ways and forms of free time, among which the leading place is occupied by various types of play activities and productive activities, as well as - trips to "special" places: "scary" (basements, attics, cemetery, abandoned houses) and places prohibited by adults for visits (dump, trash can, construction site); telling scary stories, etc .;

children's fashion;

subcultural forms that play a decisive role in the child's mastery of the content of universal values: children's problematization, children's philosophizing, word-creation, the laughing world of childhood (shape-shifters, absurdities, stories-fables, "black humor" or nursery rhymes), a fairy-tale world;

children's picture of the world, that is, a special system of worldview knowledge about it. Signs of the subculture can be seen already in preschool groups. They have common values, quite material and ranked. This is manifested in options for exchange (toys, candy wrappers), in options for evaluating another person as equal or unequal in terms of ownership of the object of value. The ideal of a person is quite specific. The scale of values \u200b\u200band personifications of human qualities in an object has a sufficient degree of stability so that the invasion of strangers (not-We) was met with obvious resistance.

Subculture is a system of values, attitudes, ways of behavior and life styles, which is inherent in a relatively small social community, spatially and socially to a greater or lesser extent isolated

Childhood subculture - This is a manifestation of self-expression of the child's personality. During the period of childhood, the subtle and sensitive world of the child begins to take shape, which is an integral and value model of the world of culture, reflected in the child's system of ideas "I am the World". In order to determine the influence of culture on the formation of a child's ideas about the world and about himself, it is necessary to consider culture as one of the most important conditions of his life.

The children's subculture exists as an element of children's experiences and does not serve as a means of achieving any pragmatic goal, unlike adult culture. Children express themselves personally and assert their existence in the peer group, as well as among the adult community.

Modern childhood is marked by an increase in the course of the chronological period. In reality, it sometimes lasts up to 18 years, due to social, demographic problems, including the need for the new generation to assimilate an increasingly complex and expanding system of information flow. Currently, a multilevel gradation of the Childhood subculture is taking shape: preschool, school, adolescent and youth.

We can name the following as specific manifestations of the subculture of Russian preschool children: the child's speech activity (word creation, slang, tease poetry, counting rhymes, etc.), customs, group games, paraphernalia, objects of their own values. The subculture of the school period can be differentiated by three periods: primary school (children 6 / 7-10 / 11 years old), middle school (children 11 / 12-15 / 16 years old - adolescents) and senior level (16-18 years old).

Sociogenetic analysis of a child's subculture is of great importance for the development of consciousness and personality of a child, - a child's community, a group of peers.

Children's subculture (from Lat. sub - under and cultura - cultivation, education, development) - in a broad sense - everything that is created by human society for children and children; in a narrower one - the semantic space of values, attitudes, methods of activity and forms of communication carried out in children's communities in a particular historical social situation of development. In general human culture, the children's subculture occupies a subordinate place, and at the same time it has relative autonomy, since in any society children have their own language, various forms of interaction, their own moral regulators of behavior, which are very stable for each age level and develop largely independently of adults.

The concept of a child's subculture arose in recent decades in connection with the growth of humanization and democratization of public life: the United Nations adopted the Declaration of the Rights of the Child in 1959, declared the Year of the Child in 1979, and in 1989, on the initiative of Poland, adopted the International Convention on the rights of the child - all these acts served as a turn of public consciousness from understanding the child as a creature only "preparing to become a person" to recognizing the intrinsic value of childhood in the development of human culture and the possibility of children's participation in various spheres of social life.

The emergence of the children's subculture as an integral historical and cultural phenomenon is due to the age and sex stratification of society, rooted in ancient times, when members of the community who did not undergo initiation (a special rite of initiation into adulthood) united to carry out joint forms of life, identical to adults. With the development of human society, these forms became more and more autonomous, making the transition from direct imitation of the labor, everyday and ritual actions of adults - to play as a special unproductive form of activity, thanks to which the child's own behavior is controlled, his orientation in the sense of human activity and relations (D. B. Elkonin).

This is the world that the children's community has created "for itself" throughout sociogenesis, it consists of: traditional folk games (round dances, outdoor games, military sports, etc.); children's folklore (rhymes, teasers, chants, fairy tales, horror stories, riddles); children's legal code (signs of ownership, debt collection, barter, seniority and guardianship in groups of different ages, the right to use a mushroom / berry place); children's humor (nursery rhymes, anecdotes, practical jokes, jerseys); children's magic and myth-making ("witchcraft" against the lucky one, invoking the forces of nature to fulfill wishes, fantastic stories-fables); children's philosophizing (questions like "why", reasoning about life and death, etc.); children's word-creation (etymology, language shifters, neologisms); aesthetic representations of children (drawing up wreaths and bouquets, drawings and modeling, "secrets"); giving nicknames to peers and adults; religious performances (children's prayers, rituals).

Let's dwell on some forms of children's subculture. This is primarily games, whose influence in the process of socialization is difficult to overestimate. Play as a school of voluntary behavior "school of morality in action" (AN Leont'ev) and a kind of modeling of social relations is the child's leading activity to improve and control his own behavior (Elkonin, 1978). The most important here are group games, which are of a special interactive nature, involving strict rules, changing positions in the game process, putting oneself in the place of another. These include such traditional Russian games as<Лапта", "Горелки" "Казаки-разбойники", "Жмурки", "Бояре" и многие другие (Детский поэтический фольклор, 1995; Мир детства и.., 1996).

Some primordially children's games have become an integral part of the children's subculture, being previously elements of the carnival, game or ritual culture of adults. Such is, for example, the game "Zhmurki", which among the Slavs goes back to the pagan funeral rite (it is hardly accidental, therefore, in the language of the criminal subculture, "blind man's buffs" are the dead, corpses). She first acquired the features of a game proper in the amusements of young people and only in the 60s. XIX century. passed into a children's play tradition. In this regard, the sociogenesis of the children's round dance game, known in Russia and widespread until recently, is striking in this regard, which consisted in the following: the boy is seated and sang:

"Sit-sit, Yasha,

Under a walnut bush

Gnaw-gnaw, Yasha,

Hardened nuts, given to a sweetheart.

Chok-chok, piglet.

Get up Yasha the fool,

Where is your bride?

What is she wearing?

What is her name and where will they bring them from? "

The boy must choose his "bride" with his eyes closed. As the historical and ethnographic research shows, the mysterious Yasha is none other than an archaic lizard, and a simple child's play is a transformation of the most ancient pagan rite of sacrificing girls to a lizard dragon, which, by the way, is also recorded in numerous fairy tales (Rybakov, 1981).

Many of the children's games emerged from the calendar rites of adults, according to the testimony of the active "restorer" of folk games V.M. Grigorieva: "The traditional games that have passed through the centuries bring to us echoes of ancient customs, elements of ancient magical rites of religious ideas of different peoples" (Grigoriev, 1994. - p. 35)

Let us emphasize once again that the traditional game is not just a reproduction by the children's community of the historically established relationships of adults, but a rethinking of these relationships and the definition of their original place in the world.

Creative, biased processing of the cumulative experience of previous generations in play is a condition for the autonomization of the world of childhood and the emergence of a wide range of phenomena of children's subculture, such as various genres of children's folklore these include, in particular: counting rhymes ("Aty-bats, soldiers were walking, aty-bats - to the market ..." "," On the golden porch sat: tsar, tsarevich, king, prince, shoemaker, tailor. Who are you ? .. "," A month came out of the fog ... ", etc.) and other forms of drawing of lots; teasers (nominal - for boys and girls like" Andrey - sparrow, do not chase pigeons ... ", as well as teasers making fun of children's flaws and misdeeds: sneering, boasting, stupidity, tearfulness, greed, for example: "Greedy beef, pickled cucumber, lying on the floor, no one eats it" or "Crybaby-wax-shoe polish, hot pancake on the nose!"), thanks to which the children's community carries out the function of educating its members Teasers train emotional stability and self-control, the ability to defend oneself when adjusting peers in an adequate form of verbal self-defense (respond with a teaser-excuse) (Osorina, 1990).

The rhyme genre is unique, unparalleled in adult folklore and, together with the draws (such as "Queens, queens, whose patches are grass or a pin?"), Is a kind of prelude to the game, its necessary attribute and culturally designed implementation of paragame relations:

"The bag rolled

From the great hump.

In this bag -

Bread, salt, water,

Who wants with whom

Share?"

It is thanks to the rhyme that unwanted conflicts in the children's environment about play are eliminated and the repertoire of traditional texts is enriched.

According to M.V. Osorina, "children's folklore is one of the forms of collective creativity of children, realized and consolidated in the system of stable oral texts, transmitted directly from generation to generation of children and having an important role in regulating their play and communicative activity" (Osorina, 1983. - p. 41 ). The folklore tradition, which has absorbed the social and intellectual experience of many generations of children, provides a preschooler or primary school child with ready-made ways to solve life problems in the children's community, and in adolescence - the acquisition of psychological independence from adults and defending their position.

The content of the children's subculture may vary depending on the age characteristics of children, for example, if up to 8-10 years old in children's communities there are mainly poetic genres of folklore and legal life [Children's Poetic Folklore .., 1997; The world of childhood and tradition .., 1996]. At the age of 11 - 13, prosaic texts of demonstrative or humorous content are used in communication between children (School Life and Folklore .., 1992). And at 14 - 17 years old - these are songs, parodies, anecdotes, "black humor" as special means of acquiring social status among peers and meeting the needs of adolescents in communication, as well as in acquiring a style of behavior and fashion. The transfer of all the richness of the content of the children's subculture takes place directly "from mouth to mouth" in the context of informal communication on playgrounds, in summer camps, sanatoriums, hospitals. Only by the end of the period of childhood, along with oral, written texts appear - songbooks, girls' albums, "fortune tellers", collections of anecdotes.

"There is a horned goat

For the little guys

Who does not eat porridge,

Togo - gores! "

At the same time, an adult depicts a "goat" and makes "scary" eyes, which at first alarms and frightens the baby a little, and then causes a cheerful laugh, which the adult joins in. At two to five years old, the scarecrows become more energetic and are accompanied by a strong tossing of the child on their knees ("Let's go to the grandmother on a lame horse, horse, horse. Along a flat path on one leg ... Over bumps! Over bumps! And ... into a pit! - boo! "). The adult first gently shakes the baby, and then throws it up, and at the end - pushes the knees apart, and the baby seems to fall into a "hole", which first causes the fear of falling, and then violent joy from a safe "landing". In the later - preschool and primary school - age, horror stories are developed in an autonomous children's environment and take the form of little bylaws of terrible and tragic content, such as: "In one black and black forest there is a black and black house. In this black and black house there is a black one. black room. In this black-black room there is a black-black table. On this black-black table stands a black-black coffin. In this black-black coffin lies a black-black dead. You come up to him, and he ... screams : "Give me my heart!" They contain evil spirits, dangerous and mysterious phenomena, the dead, etc., and all this is some analogy of experiencing high tragedy, fear, but "not to death" and psychological catharsis. being tested by a horror story (as a rule, children tell it in a dark room late at night in a "grave" voice) is akin to an archaic rite of initiation and transition to a higher age level. This is a relatively new genre of children's folklore, " th "only 40 - 50 years ago (School life and folklore .., 1992), received its fairly widespread use in the 70s and early 80s. The development of these forms of children's folklore in recent years, which undoubtedly testifies to changes in children's consciousness towards demonization, requires a close study of such transformations in children's subculture.

One of the most important features of the children's subculture is having your own language of communication between children, characterized by a special syntactic and lexical structure, imagery, encryption. D.B. El'konin, when studying the oral and written speech of students, discovered the originality of not only lexical meanings and grammatical forms, but also the syntax of children's language, for example, when the grammatical and psychological subject did not coincide [Elkonin, 1998].

In the process of communication, children come up with "secret languages" that are inaccessible to the understanding of the uninitiated, especially adults, often it can be the addition to the word of any gibberish prefix or endings, such as "mustache", then the usual phrase takes on a strange sound: "Mamaus left naus work , prihodius kous meus "(mom went to work, come to me). Older children use a special slang in oral communication and developed cryptography in writing. All these tricks, sometimes quite naive, are necessary for children to create a cover of romantic mystery and testify to the desire to autonomize the children's subculture.

Unlike an adult, a child freely experiments with linguistic material, feels the latent energy of the word, which has settled in the normative vocabulary;

like poets, children remove ossified strata from their native language and search for its primordial meanings, making the word alive and objective, plastic and absorbing all possible shades of meaning (Abramenkova, 1974; Chukovsky, 1981).

Children's word creation, like: "diggers, reddish, bush", akin to folk etymology - "policlinic, gulvar, by-skirt"; but these parallels especially arise when meeting the shape-shifters: "The village was driving past the peasant, and the gates bark from under the dog" - by the children so beloved. Chaps are special verbal microforms in which the norm is turned inside out, the obvious becomes incredible, and generally accepted ideas are problematized. These "stucco absurdities" (K. Chukovsky) are rooted in the folk culture of laughter as a means of expanding consciousness, rethinking the world, and creativity. The game of flip-flops allows the child to comprehend the relativity of the norm itself, but not in order to deny it, but in order to creatively apply it to specific life situations - always unique and inimitable. In his word-creation experiments, the child fixes the reserve potential of the native language, the possibilities of its development, without knowing about it, which is why K.I. Chukovsky and R. Yakobson called children brilliant linguists.

Another important feature of the children's subculture is the taboo of personal names in children's communities and endowing peers with nicknames and nicknames. Unfortunately, this aspect of the manifestation of the autonomization of the children's group, which is especially characteristic of the adolescent and youth environment, has not yet become the subject of attention of researchers. Meanwhile, it is the nicknames that are a kind of manifestation of the very content of the children's subculture and rich material for understanding the mechanisms of the functioning of children's communities in ontogenesis and sociogenesis.

A nickname, unlike a child's own name, is always emotionally saturated, it carries a moment of evaluation (positive / negative, or ambivalent). However, semantic accents can be discerned only on the basis of the internal socio-cultural context of the child's community. If at primary school age a nickname is, as a rule, a stamp of a bright personality, and its absence is offensive, then in adolescents, offensive nicknames are a sign of an outsider, but in any case: to have a nickname means to be noticed by peers.

The most important element of children's subculture are the religious beliefs and spiritual life of children. The spiritual is understood by us as such an activity of consciousness, which is aimed at defining the criteria of good and evil by the personality, the formation of motives of behavior in agreement (or contradiction) with conscience, as well as the search for the meaning of life and one's place in it. Conscience is a spiritual instance, an expression of the moral self-awareness of a person, which allows one to control and evaluate one's own actions.

Children's spiritual life is the deepest, intimate side of a child's life, but also the most hidden part from an external observer (not only an adult, but also a peer). This is what V.V. had in mind and said it perfectly. Zenkovsky: "We know, we deeply feel that there, in the depths of a child's soul, there are many beautiful strings, we know that melodies sound in a child's soul - we see their traces on a child's face, as if we inhale a fragrance emanating from a child's soul - but we stand before all this with a painful feeling of a secret that is closed and inaccessible to us "(Zenkovsky, 1995. - p. 208).

Due to the special mythological nature of the child's consciousness with faith in the supernatural, the need to acquire the highest focus of the integral world, its Creator and Almighty, each child is naturally religious. Even in the event that a child is excommunicated from the religious tradition, like the overwhelming majority of children in Russia in the post-revolutionary period, the need for a "higher sphere", the search for an emotional connection with the higher, living communication with God is characteristic of the child's soul in full, like the soul of a primitive man [Taylor, 1989 ; Toporov, 1995].

The Russian spiritual tradition is characterized by a special attitude towards the child as "the heir to the Kingdom of God", expressed in the church veneration of children who died a violent death, so that one can speak of a special rite of childish holiness in Russian Orthodoxy [Abramenkova, 1995; Fedotov, 1990]. This reverent reverence for children with the outward severity and severity of upbringing and the legal childish lack of rights seems even more paradoxical when referring to materials about the place of the child, childhood in the social life of the Russian people.

The study of spiritual psychology as an independent direction of psychological thought, so brilliantly begun at the beginning of the XX century. constellation of remarkable scientists: N.O. Lossky, G.V. Florovsky, V.V. Zenkovsky, S.F. Frank and others, sought to restore the rights of psychology in the old, literal and precise meaning of the word, i.e. creation of "true science of spirit and man" not animal, but the image of God (Psychological Science .., 1997). After a long break, spiritual psychology returns to science, and it is especially gratifying for scientists to pay attention to the issues of the spiritually integral worldview and moral behavior of children (Nichiporov, 1994; Nevyarovich, 1997; Church, children, etc., 1997). I would like to express the hope that the study of children's religious ideas in the context of spiritual psychology and culture is a matter of the near future.

The laughing world of children's subculture.

The existence of the highest, the holy, the higher always presupposes the presence - albeit in a latent form - of the lower, demonic, subal. Just as in Ancient Russia, along with an exceptional spiritual culture and piety, there was a laughter culture of Christmastide and Maslenitsa, wild games, blasphemous performances, "shameful" songs and dances, also inside the children's subculture one cannot fail to see "grassroots" forms of oral folklore texts. These can include all kinds of pranks and jokes of peers and adults (such as modern mischief with door and phone calls in cities), parodies (such as "The oak was cut down at Lukomorye ..."), as well as children's indecent (obscene) poetry, the same sadistic rhymes and other forms in which the comic, funny, which the child always strives for, acquired the psychological meaning of violating the prohibitions of adults. A common source and a common way of self-presentation of the laughter world of adults and some forms of children's folklore is indicated by the famous culturologist D.S. Likhachev: "Rhyme and a special conditional rhythm as signs of a joke are closest to the method of teasing that is common among children: teasing, children often select" offensive "rhymes to the name of the one they are teasing, pronounce their teasers in a chant, dancing, rhythmically repeating some phrases, expressions, stretching words, etc. " (Likhachev, Panchenko, Ponyrko, 1984. - p. 51). A child's love for teasers, shape-shifters, temporary violation of statuses, and laughter situations at the same time destroys and affirms the order and inviolability of the world, which he tests for strength. The child's laughter activity is every time a confirmation of his own existence through, as it were, turning himself and those around him "inside out".

Such a seamy, inverted, "stupid world" characteristic of medieval Russia is, to a certain extent, characteristic of the children's subculture as a whole, not only because of the common playful element for them, but also because in this carnival a person is withdrawn from all the usual stable forms and immerses into the element of chaos, uncertainty, since laughter deliberately distorts the world, he seems to be experimenting with the world, depriving it of reasonable explanations, cause-and-effect relationships.

The laughter anti-world gives rise to its own personal representatives of laughter situations - all kinds of jesters, buffoons, clowns, and for the Russian tradition it is primarily a figure of a fool. The Russian fool behaves in a childishly naive way: he says that it is not accepted, does not take into account the authorities, undresses where it is not necessary, does the opposite. Like the Andersen boy, he is the only one shouting that "the king is naked", revealing the "naked truth", is often exposed himself, ridiculing and denouncing. This behavior is only allowed for a fool or a small child: “Grandma, where the hell? - What the hell? - And my mother said that the devils are carrying you.” (Chukovsky, 1981]. This phrase could be said really “holy simplicity”, but could have sounded with a pseudo-demented look of a very clever child out of prank.

The mischievous and mischievous in the children's subculture fit well into the idea of \u200b\u200bthe laughter world as a world of violation of decency and norms of behavior, overthrowing authorities and overturning familiar concepts. These children with a pronounced sense of humor know how to see the funny in the most serious, present situations in the most unexpected light and thus arouse the increased interest of others. "Working for the public," the mischievous children include lethargic, disorderly or cowardly children into the orbit of their experiments, making fun of them, making them move and defend themselves. The well-known teacher Sh. Amonashvili attached great importance to the naughty ones in the pedagogical process, emphasizing in them their wit, quick wit, cheerfulness, the ability to apply their abilities in any unexpected conditions and evoke in adults a sense of the need to reassess situations and relationships. In his books there are many pages, representing a kind of "laudatory ode" to the naughty ones: "It would be impossible to build a real pedagogy if it weren't for children's pranks, if it weren't for mischievous people. They provide food for pedagogical thought to move on and for educators to be constantly concerned the need to think creatively, to show innovation, pedagogical daring "(Amonashvili, 1983. - p. 26). Truly, rascals are the engines of pedagogical progress!

Thus, the laughing world of childhood is embedded in the children's subculture along with the scary, dangerous world, as well as with the divine, mystical world - in the socio-cultural regulation of the life of the children's community.

In modern society audio and video media have a significant impact on the subculture of childhood. The unrestricted dominance of the screen (both television, hook and computer) invaded the sphere of human existence. The screen for the modern child is not so much an informant and source of building a picture of the world, but rather its constructor. Screen culture by means of optical effects, “clip-like”, etc. transforms the traditional children's picture of the world into a different (visual) reality, immersing the child in special, altered states of consciousness.