Tactile editions of Sh. Perrault fairy tales served
as a kind of source, issued by the charity
foundation "Children's books for small blind
children" (The Fund "Illustrated books for small
blind children.", (s.f)). They were published both
for reading by adults and with a dubbing effect
for children's reading. These publications have
attracted attention because they differ little from
children's books for 3-7 years of age, produced
by modern publishers. They have a regular font
and illustrations, some of which are voluminous,
or made of a variety of materials. Reading tactile
books, accessible to children with visual
disabilities, complements the material of the
article and works to uncover the topic.
In Soviet times, the publication of fairy tales was uneven,
there were periods when the fairy tale left publishing
houses or appeared extremely rarely. Starting from
1922, the monopoly on the publication of fairy tales
belongs to state publishers. It is precisely in this period
that a revision of views on children's literature takes
place, and it began to be perceived as a subject of high
art (Kiryushchenko, 2002). During this time, such
talented children's writers as S. Marshak, K. Chukovsky,
A. Barto, S. Mikhalkov, V. Bianki appeared, and the
creation of a fundamentally new Soviet literature took
place, forming authors and artists who determined the
main features of children's books.
In September 1933, the Central Committee of the Party
adopted a resolution on the organization of Detgiz - a
specialized children's literature publishing house for the
purpose of uniting the forces of writers, artists, educators,
improving and expanding the activities of children's
book publishers. At this stage, a new ideology of
children's literature begins to be instilled, in which there
is no place for a magical fairy tale. Fairy tales with
romantic plots completely disappear from the
publishing repertoire. The book of the new time should
help to educate children in the spirit of proletarian
ideology, should draw content for children's literature
from real life, not creative imagination.
The exception was the publication of the fairy tales of
Charles Perrault. In 1936, a collection of Charles
Perrault's fairy tales was published by Detgiz with a
fundamentally new translation, significantly different
from the earlier translation by Ivan Turgenev, released
by M. O. Wolf's publishing house. In the preface, the
publisher emphasized that the tales are "fun, entertaining,
relaxed, not burdened with either excessive morality or
the author's pretension" (Perrault, 1867, p. 6).
The new translation, owned by M.A. Bulatov, was
harshly criticized. In a review of the publication of
Perrault's fairy tales by "Detgiz", A. Babushkina made a
comment that it was not at all worth "adapting a fairy
tale for children that was written for children"
(Babushkina, 1936, p. 8). According to her,
M. A. Bulatov completely removed all the emotionality
from the fairy tale, it became dry, many of the
characters' actions are difficult to explain. Despite the
criticism, "Detgiz" continued to release Perrault's fairy
tales in the translation of M. A. Bulatov, expanding the
boundaries of the addressee of this work at the expense
of the adult reader. The translator cannot be denied
humanity, as he changed the ending of the fairy tale. In
Perrault's version, Little Red Riding Hood was eaten by
the wolf, but the translator used the more positive ending
of the Brothers Grimm, where Little Red Riding Hood
was saved by woodcutters. To this day, this ending
prevails in editions of this fairy tale. In 1936, the fairy
tales of Ch. Perrault were published in the State
Publishing House of Artistic Literature (GIHL)
translated by A.V. Fedorov and L. K. Uspensky. The
small volume of 68x100 cm 1/32 sheet with illustrations
by V. Tauber in a fabric binding had a circulation of
15,300 copies, which is quite a bit if you consider that
the 1944 edition of the fairy tale "Little Red Riding
Hood" was issued with a circulation of 100,000 copies.
This is a third of the circulation of all fairy tales released
that year.
In the post-war years, fairy tales began to be included in
collections. From 1947, the fairy tale "Cinderella"
regularly began to be included in the collections, and in
1950, "Detgiz" published it separately with illustrations
by B. A. Dehterev.
Dehterev's illustrations are now considered classic and
are often published in editions of Charles Perrault's fairy
tales. The illustrator presents to the young reader a
refined, exquisite world of baroque, where the
characters are gallant, friendly, and "Little Red Riding
Hood” appears as a righteous child. In the fairy tale
"Puss in Boots," according to the researcher, "even the
reapers in his picture seem to dance" (Gankina, 1963,
p. 160), and only the Ogre is endowed with terrifying
features.
From 1918 to 1991, 254 editions of Charles Perrault's
fairy tales were published, of which 174 are separate
editions. Not all fairy tales have gained as much
popularity as "Little Red Riding Hood," which was
published 54 times, or "Puss in Boots," published 46
times (Perrault, 1984, p. 4-10). Fairy tales like "Donkey
Skin," "Ricky with the Tuft," and "Fairy Gifts" are
rarely published as separate editions. Publishers include
less popular fairy tales in collective compilations. It is
worth noting that Charles Perrault's fairy tales began to
be featured in compilations alongside works by such
storytellers as the Grimm brothers and Hans Christian
Andersen only relatively recently, in the 1970s. Prior to
that, Charles Perrault's fairy tales were published with
other French fairy tale writers, or in collections that
included several fairy tale authors at once. The analysis
of the selected publications revealed the intensity of