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Nosovning bilmasvoy haqidagi ertaklari - nikolai nikolayevich nosov is a russian writer and playwright

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THE MINISTRY OF HIGHER EDUCATION SCIENCE AND INNOVATIONS
OF THE REPUBLIC OF UZBEKISTAN
SAMARKAND STATE INSTITUTE OF FOREIGN LANGUAGES
COURSE WORK
THEME: NOSOVNING BILMASVOY HAQIDAGI ERTAKLARI
Scientific supervisor: _____________
Done by: _____________
SAMARKAND-2023

CONTENTS
INTRODUCTION ....................................................................................................... 3
CHAPTER I. NIKOLAI NIKOLAYEVICH NOSOV IS A RUSSIAN WRITER
AND PLAYWRIGHT ................................................................................................. 5
1.1 Nikolay Nosov Biography, Life and Interesting Facts .......................................... 5
1.2 Fairy tale ................................................................................................................ 9
Conclusion on chapter I ............................................................................................ 28
CHAPTER II. NIKOLAY NIKOLAYEVICH NOSOV'S NOVEL " DUNNO " . . . . 31
2.1 DUNNO .............................................................................................................. 31
2.2 Characters ............................................................................................................ 39
Conclusion on chapter II ........................................................................................... 44
CONCLUSION ......................................................................................................... 46
LIST OF LITERATURE ........................................................................................... 48
INTERNET RESOURCES ....................................................................................... 49

INTRODUCTION
Children's literature is a distinct genre of literature that stands on its own and
has unique characteristics that set it apart from adult writing. Children not only
change as they become older, but they also change from generation to generation.
Likewise, humanity is maturing. Because of this, modern children's fairy tales have
largely replaced the ancient mythologies that adults invented for themselves. But the
issues surrounding love, friendship, and loyalty—problems that are relevant to both
the adult world and the world of childhood—remain timeless. As a result, both
children's and adult readers will always be interested in the brilliant and talented
children's author N. N. Nosov's works. Written by S. Marshak "Morality does not ruin
a children's novel; rather, it is just an abstraction or a plot. Reasonability, not the
directness of a moral argument, is what kills. If a writer draws a moral conclusion
with passion, the reader will find the conclusion appealing as well. The message is
delivered in an uncaring, unsincere manner, which is disgusting." [7, 20 p. Nosov's
moral is always presented with humor, as if imperceptibly, which is why it is
effective, relevant, and timely. Many unique characters, such N. N. Nosov's shorties,
have appeared in children's literature as a result of a different time period and a very
distinct perspective on the fantastic and wonderful. In the Dunno trilogy, N. N. Nosov
got the closest to the literary traditions of the past. One of the all-time most adored
children's characters is Dunno. With his upbeat personality, cheerfulness, and
tremendously raging imagination, he wins over kids. He is adaptable, inquisitive,
tough, and even in some ways remarkably similar to any character who is not even a
fictitious character, but a real youngster.
The aim of the study is to find out similarities and the differences between
Russian fairytales.
Object of research - the Russian fairy tales.To determine the artistic features
of the Dunno trilogy.:
1) Study the history of the Dunno trilogy
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2) Get acquainted with scientific works and reviews about the trilogy 3)
Identify the genre features of the trilogy by N. N. Nosov
4) Consider the artistic space of the trilogy
Subject of research - similarities and the differences between Russian
fairytales.
Research methods : observation, comparison and analysis.
Research tasks:
The practical value of the work . The information brought into forth in the work
are very useful for students who study in English language and literature departments.
Moreover, the analyses given in the work are practical for students and learners'
improvement of English.
The structure of the work. Here by work consists of introduction, 2 main chapter
with 4 parts, conclusion and the list of the used literature.
4

CHAPTER I. NIKOLAI NIKOLAYEVICH NOSOV IS A RUSSIAN WRITER
AND PLAYWRIGHT
1.1 Nikolay Nosov Biography, Life and Interesting Facts
Biography of Nikolai Nosov
Author of well-known children's books about Neznayka and recipient of the
Stalin Prize in its third degree, Nikolai Nikolayevich Nosov is a Russian writer,
playwright, director, and screenwriter.
Childhood and school years
On November 10, 1908, in Kiev, Nosov Nikolai Nikolaevich was born into the
family of a performer. The future author spent his formative years in the sleepy town
of Irpen, which is close to Kiev. The local gymnasium where Nikolai Nikolayevich
obtained his elementary education was transformed into a seven-year school in 1917.
The future author had to start working at the age of 14 as a digger, newspaper trader,
wood carter, and mower since the Nosov family was struggling.
Education. The beginning of creative activity
After completing his education in 1924, Nikolai Nikolayevich began working
as a laborer at an Irpen concrete plant before settling down in a Bucha brick business.
Nosov enrolled at the Kiev Art Institute in 1927. Nonetheless, he proceeded to the
Moscow Institute of Cinematography in 1929 after becoming attracted by filmmaking
and photography. Nikolai Nikolayevich started working as a director and director of
educational, scientific, and animated films for children in the studio "Soyuzkino" after
graduating from the educational institution in 1923. The first time Nosov's stories
were published was in the journal Murzilka in 1938, together with other well-known
authors of children's literature like S. Marshak, E. Blaginina, A. Barto, S. Mikhalkov,
and B. Zakhoder.
Mature creativity
Nosov produced and directed instructional military-technical movies during the
Great Patriotic War. The collection "Tuk-tuk-tuk" by Nosov, which includes
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previously published stories, is released in 1945. Steps, a collection by the author, was
published in 1946. When a collection of "Funny tales" was released in 1947, Nosov's
"Merry Family" and "Diary of Kolya Sinitsyn" shortly followed.
For the story "Vitya Maleev in school and at home," the author received the
Stalin Prize of the third degree in 1952. Two Buddies, a children's movie, was made
in 1954. Further collections of Nosov's stories, including "On the Hill," "Hide and
Seek," and "Funny stories and novels," were soon published.
Last years
Without addressing his latter work, a brief biography of Nosov would be
lacking. "Ironic Humoresks," a collection of satire by the author, was published in
1969. Nosov writes "A Story of My Friend Igor," an autobiographical work, in 1971–
1972; "The Mystery at the bottom of a well," an artistic memoir novel, in 1977.
Nosov, a children's writer, passed away on July 26, 1976. Nikolai Nikolayevich
was laid to rest in Moscow's Kuntsevo Cemetery.
Works about Neznayka
The most well-known were Nikolai Nikolayevich's writings about Neznayka.
Nosov wrote a trilogy on his small, restless, funny, and curious hero after the first
fairy tale. Popular fairy tales include "The Adventures of Neznaika and His
Companions," "Dunno in Sunny City," and "Dunno on the Moon." In 1969, Nikolai
Nikolayevich won the State Prize Krupskaya for his children's trilogy.
Interesting Facts
When Nosov became obsessed with chemistry in the 1920s, he set up a
laboratory in the attic of his home. Nikolai Nikolayevich even had plans to enroll in
the Kiev Polytechnic Institute's chemical faculty, but he changed his mind at the last
minute. The earliest stories Nosov wrote were for his son Peter, and he had no
intention of publishing them. The memoirs of his contemporaries reveal that Nikolai
Nosov, whose life included some of the most difficult moments in Russian history,
was a very reserved and quiet individual. Famous illustrators A. Laptev, G. Valk, A.
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Kanevsky, D. Bisti, I. Semenov, V. Goryaev, and others contributed to the trilogy
about Neznaika.
First and foremost, Soviet author Nikolai Nosov is well-known for his Dunno
book series, which has inspired many generations. But, he was well-known for other,
lesser-known, though equally fascinating and important works. Literary experts have
every right to declare Nikolai Nikolaevich Nosov one of the greatest children's
authors of all time based on his body of work. Nikolay Nosov started working hard at
the age of 14 to provide for his family. He drove a cab, sold newspapers, dug holes,
and mowed grass. The future author's childhood dream was to become a musician
rather than a writer. When Nosov attempted to master the violin but gave up after
deciding it was too tough, the dream of music was lost. He developed a keen interest
in chemistry throughout his school years and set up a true laboratory in the house's
attic, where he carried out different experiments. When he had the time, Nosov used
to direct instructional movies for the Red Army. He even got an order for this action.
Nosov's 1938 children's book "The Inventors" served as his debut composition.
Despite the upbeat and optimistic tone of Nikolai Nosov's novels, his contemporaries
described him as a somber, reclusive individual. The author created short stories and
the characters for novels about Dunno when he was still a little boy. He then gave
them life in the pages of his writings. The youngsters of his acquaintances served as
the inspiration for several of "Dunno's" characters. The writer once became
acquainted with the homeless guys and they became close. The street kids called him
to stay the night in their home because he was running late for the train and the station
was closed. In addition to writing for youngsters, Nosov also produced a number of
profound autobiographical stories. Four movies, including the well-known
"Visionaries," had scripts written by Nikolay Nosov. The author frequently mailed his
books to readers who couldn't afford them. The residence where Nikolai Nosov grew
up is still standing. But, they didn't set up a museum there, so now regular people live
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there. The author's descendants are still alive today, preserving his race. The
renowned magazine Murzilka frequently featured Nosov's pieces.
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1.2 Fairy tale
A short story that falls under the folklore category is known as a fairy tale (also
known as a fairytale, fairy story, magic tale, or wonder tale). These tales sometimes
include magic, enchantments, and fantastical or mythical creatures. Most cultures can
not clearly distinguish between myth and folktale or fairy tale; these three combined
make up preliterate societies' literature. Explicit moral tales, such as beast fables, and
legends (which typically include believing in the authenticity of the events portrayed)
can be distinguished from fairy tales as other types of folklore. Dwarves, dragons,
elves, fairies, giants, gnomes, goblins, griffins, mermaids, talking animals, trolls,
unicorns, monsters, witches, and wizards are frequently encountered characters.
Magic and enchantments are also common.
The phrase is sometimes used to refer to something that has been granted
uncommon happiness in less formal circumstances, as in "fairy-tale finale," a happy
ending, or "fairy-tale romance." The word "fairy tale" or "fairy story" is often used
colloquially to refer to any fantastical story or tall tale; it is particularly used to
describe any story that is neither true nor possible to be true. Within their culture,
legends are regarded as being true; fairy tales may combine with legends to create
stories that both the narrator and the audience believe to be based on historical reality.
However, unlike legends and epics, fairy tales usually do not contain more than
superficial references to religion and to actual places, people, and events; they take
place "once upon a time" rather than in actual times.
Fairy tales occur both in oral and in literary form; the name "fairy tale" ("conte
de fées" in French) was first ascribed to them by Madame d'Aulnoy in the late 17th
century. Many of today's fairy tales have evolved from centuries-old stories that have
appeared, with variations, in multiple cultures around the world.
Because only literary forms may endure, it is particularly challenging to
reconstruct the history of fairy tales. Yet, studies from Lisbon and Durham
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universities suggest that some of these tales go back as far as the Bronze Age. The
writing of fairy tales and works based on them continues today.
The Jatakas are most likely the oldest collection of these stories in literature,
and the majority of the remaining stories have a proven age of over a thousand years.
It is unquestionable that a significant portion possibly one-fifth of modern Europe's
popular literature is drawn from those pieces of this vast majority that traveled west
with the Crusades via Arabs and Jews.
Fairy tales have been categorized in a number of ways by folklorists. Among
the most noteworthy are the Aarne-Thompson-Uther categorization scheme and
Vladimir Propp's morphological study. Various folklorists have offered interpretations
of the stories' content, but no authoritative school has emerged to explain what the
stories imply.
Terminology
According to Thompson's definition of the genre in his 1977 edition of The
Folktale: "a tale of some length involving a succession of motifs or episodes. It moves
in an unreal world without definite locality or definite creatures and is filled with the
marvellous. In this never-never land, humble heroes kill foes, succeed to kingdoms,
and marry." Fairy tales typically feature simple, archetypal characters and themes,
such as princesses and goosegirls, youngest sons and brave princes, ogres, giants,
dragons, and trolls, evil stepmothers and fake heroes, fairy godmothers and other
magical helpers, frequently talking horses, foxes, or birds, glass mountains, and
prohibitions and breaking of prohibitions.
Definition
The term that designates a work as a fairy tale is a subject of much debate
despite the fact that fairy tales are a unique genre within the broader category of
folktales. Common parlance conflates fairy tales with beast fables and other folktales,
and scholars disagree on the extent to which the presence of fairies and/or similarly
mythical beings (e.g., elves, goblins, trolls, giants, huge monsters, or mermaids)
10

should be taken as a differentiator. The term "fairy tale" originates from the
translation of Madame D'Aulnoy's Conte de The difference between "fairy tales" and
"animal tales," which is frequently used, was questioned by Vladimir Propp in his
Morphology of the Folktale on the basis that many tales had both fantastical elements
and animals [14]. However, Propp employed all Russian folktales that were
categorized as folklore, Aarne Thompson Uther Index 300749, in a cataloging method
that established this distinction in order to obtain a distinct group of tales for his
investigation. His original methodology, which determined fairy tales by their plot
features, has drawn criticism because it is difficult to apply to stories without a quest
and because the same plot elements appear in non-fairy tale works.
As noted by Stith Thompson, talking animals and the existence of magic appear
to be more prevalent in fairy tales than actual fairies. Even when the animal is
obviously a mask covering a human face, as in fables, the sheer existence of talking
animals does not automatically transform a story into a fairy tale.
J. R. R. Tolkien defined fairy tales as tales of the exploits of men in Farie, the
realm of fairies, fairytale princes and princesses, dwarfs, elves, and not just other
magical species but many other marvels. He agreed that "fairies" should not be
included in the term. The Monkey's Heart, which Andrew Lang includes in The Lilac
Fairy Book, is one example of a common fairy tale that isn't included in the same
article.
According to Steven Swann Jones, the characteristic that distinguishes fairy
tales from other types of folktales is the inclusion of magic. "Transformation" is cited
by Davidson and Chaudri as the genre's distinguishing characteristic. Jean Chiriac
claimed that the fantastic was required in these stories from a psychological
perspective.
Italo Calvino described the fairy tale as a prime example of "quickness" in
literature in terms of aesthetic criteria because of the economy and concision of the
tales[10;36].
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History of the genre
Originally, tales that would be categorized as fairy tales today were not
distinguished as a distinct genre. The old German word "Mär," which meaning news
or a tale, is the root of the German word "Märchen." Because "Märchen" is the
diminutive of "Mär," it denotes a "small narrative." This reveals that a fairy tale or
märchen was initially a short story from a long time ago when the world was still
magical, together with the frequent opening "once upon a time."
Often include fairies in their stories, the French authors and translators of the
conte de fées genre "gradually overtook the more inclusive term folk story that
embraced a wide variety of oral tales." The genre name became "fairy tale" in English
translation. The upper classes' trivialization of these tales during the seventeenth and
eighteenth centuries, according to Jack Zipes, is another factor contributing to this
transition.
The genre has its origins in a variety of oral tales that have been passed down
across European cultures. Renaissance authors like Giovanni Francesco Straparola
and Giambattista Basile first defined the genre, and later collectors like Charles
Perrault and the Brothers Grimm helped to consolidate it. In this history, the word
"fairy tale" was first used by Madame d'Aulnoy in the late 17th century when the
précieuses began penning literary tales.
Many works that would now be categorized as fantasy were once referred to as
"fairy tales," including Tolkien's The Hobbit, George Orwell's Animal Farm, and L.
Frank Baum's The Golden Notebook. The Wonderful Wizard of Oz by Frank
Baum[28]. In fact, Tolkien's "On Fairy-Stories," which covers world-building, is
regarded as a crucial component of fantasy criticism. Although fairy tale tropes are
extensively incorporated into fantasy, especially the subgenre of fairytale fantasy, the
genres are now seen as separate.
Folk and literary
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A type of folktale is the fairy tale, which is typically told orally. Fairy tale-
inspired writing has been used by numerous authors. These are the so-called
Kunstmärchen, or literary fairy tales. From Panchatantra through the Pentamerone,
the first written forms exhibit significant changes from the oral form. One of the first
to attempt to preserve the characteristics of oral tales was the Grimm brothers. But, in
order to fit the written form, the tales published under the Grimm name have
undergone significant revision.
Plots, motifs, and other aspects were widely swapped between written and oral
fairy tales as well as with stories from other cultures. The literary fairy tale became
popular in the 17th century after being created as a parlor game by aristocratic
women. Hence, the oral tradition was kept alive. Many 18th-century folklorists
worked to reclaim the "pure" folktale, free of literary influences. According to Jack
Zipes, "The subject matter of the conversations consisted of literature, mores, taste,
and etiquette, whereby the speakers all endeavored to portray ideal situations in the
most effective oratorical style that would gradually have a major effect on literary
forms." There is no such thing as a pure folktale, and every literary fairy tale
incorporates elements of folklore even if it's simply in parody despite the fact that oral
fairy tales probably predated literary forms by thousands of years. As a result, it is
impossible to track how a fairy tale was transmitted. Oral story-tellers have been
known to read literary fairy tales to increase their own stock of stories and treatments.
History
The fairy tale was first told orally, long before it was ever written down. Instead
of being recorded or written down, stories were passed down orally or dramatically.
The history of their development is inevitably murky and unclear as a result.
Occasionally, fairy tales can be found in recorded literature from all literate cultures.
Examples include The Golden Ass, which features Cupid and Psyche, and the
Panchatantra (India, 3rd century BC). Nevertheless, it is questionable how much these
works actually mirror the folktales of their own age. The stylistic evidence suggests
13

that these collections, as well as many others published afterwards, transformed
folktales into literary genres. These do, however, demonstrate that the fairy tale has
older origins than the collection of fantastical stories from the Arabian Nights,
including Vikram and the Vampire and Bel and the Dragon. In addition to these
collections and individual stories, Taoist thinkers like Liezi and Zhuangzi in China
also included fairy tale retellings in their philosophical writings. The first well-known
Western fairy tales, according to the genre's broader definition, were written by Aesop
in ancient Greece.
Historians have noted that early versions or forerunners of later well-known
stories and motifs, such the grateful dead, The Bird Lover, or the search for the lost
wife, can be found in medieval literature. Moreover, well-known folktales have been
reimagined as the storylines of folk literature and oral epics.
"There are fairy tale components in Chaucer's The Canterbury Tales, Edmund
Spenser's The Faerie Queene, and in many of William Shakespeare plays," Jack Zipes
writes in When Dreams Come True. "King Lear can be viewed as a literary adaptation
of fairy tales like Water and Salt and Cap O' Rushes. The story itself reappeared in
16th- and 17th-century Western literature in Giovanni Francesco Straparola's The
Facetious Nights of Straparola, which includes numerous fairy stories in its inset
tales, and in Giambattista Basile's Neapolitan tales, which are all fairy tales. Of the
many fairy tale themes Carlo Gozzi used in his Commedia dell'Arte plays, one of
them was The Love for Three Oranges. The fairy tale itself became popular among
the précieuses of upper-class France and among the tales told at that time were the
ones of La Fontaine and the Contes of Charles Perrault, who fixed the forms of
Sleeping Beau. At the same time, Pu Songling, in China, included many fairy tales in
his collection, Strange Stories from a Chinese Studio, which has been described by
Yuken Fujita of Keio University as having "a reputation as the most outstanding short
story collection." The oldest versions of numerous fairy tales are found in
14

Straparola's, Basile's, and Perrault's collections, but stylistic evidence suggests that all
three authors altered the stories for literary impact.
The Salon Era
The intellectuals who attended the Parisian salons developed a taste for magical
tales in the middle of the 17th century. These salons were frequent get-togethers
where men and women could mingle and debate current affairs, hosted by notable
aristocratic women.
Aristocratic women started meeting in their own living rooms, or salons, in the
1630s to debate the subjects they found interesting, including politics, the arts and
humanities, and social issues like marriage, love, financial independence, and
educational opportunities. Women were not allowed to pursue formal education at
this time. Some of the most talented female writers of the day, including Madeleine
de Scudéry and Madame de Lafayette, emerged from these early salons, which
supported women's freedom and challenged the social norms that restricted them. The
salonnières opposed the practice of planned marriages and advocated in particular for
romantic and intellectual compatibility between the sexes.
A fascination for the conversational parlour game based on the plots of old folk
tales surged through the salons sometime in the middle of the 17th century. Each
salonnière was required to retell an old story or rework an old theme, conjuring up
ingenious new tales that not only displayed their verbal dexterity and creativity but
also subtly poked fun at the aristocratic lifestyle. A strong emphasis was made on
delivering the message in a way that seemed casual and unplanned. The beautiful
language of the fairy tales served a crucial purpose: it concealed the stories' rebellious
undertone and allowed them to get past the court censors. Expensive stories and dark,
harshly dystopian ones both contained criticisms of royal life (and even of the king).
The stories by women frequently included young (but witty) aristocratic girls whose
lives were dictated by the capricious whims of fathers, kings, and elderly wicked
15

fairies. They also frequently included stories in which groups of wise fairies (i.e.,
intelligent, independent women) intervened and set everything right.
The salon tales as they were originally written and published have been
preserved in a monumental work called Le Cabinet des Fées, an enormous collection
of stories from the 17th and 18th centuries.
Later works
The Brothers Grimm, who collected German fairy tales, were the first
collectors to make an effort to preserve not only the story's plot and characters but
also the manner in which they were told. Ironically, this meant that although their first
edition remains a treasure for folklorists, they rewrote the tales in later editions to
make them more acceptable, which ensured their sales and the later popularity of their
work.
These literary genres not only borrowed from folklore but also had a direct
impact on it. Even though they were told by Germans orally, the Brothers Grimm
rejected a number of stories for their collection because they were based on Perrault,
leading them to believe they were French and not German stories. The story of Little
Briar Rose, which is unmistakably related to Perrault's The Sleeping Beauty, was only
included because Jacob Grimm persuaded his brother that the character of Brynhildr,
from much older Norse mythology, proved that Brynh.
This deliberation over whether to keep Sleeping Beauty represented a prevalent
viewpoint held by folklorists in the 19th century: that folklore kept fairy tales in their
original, prehistoric forms except when they were "polluted" by literary conventions
and caused people to tell untrue stories. If sufficiently secluded, the rural, illiterate,
and uneducated peasants that made up the populace would speak only folk stories.
They occasionally viewed fairy tales as a type of fossil, the charred remains of a once-
perfect story. Yet, more research has revealed that fairy tales never had a fixed shape
and that their tellers continuously altered them for their own goals, regardless of
literary impact.
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Other collectors were affected by the work of the Brothers Grimm, who not
only encouraged them to start collecting stories but also made them share their
romantic nationalist belief that a country's fairy tales were particularly reflective of it,
oblivious to cross-cultural impact. The Russian Alexander Afanasyev, the
Norwegians Peter Christen Asbjrnsen and Jergen Moe, the Romanian Petre Ispirescu,
the English Joseph Jacobs, and the American Jeremiah Curtin, who collected Irish
tales, were among those who were influenced. Ethnographers collected fairy tales all
over the world, finding similar tales in Africa, the Americas, and Australia; Andrew
Lang was able to draw on both the written tales of. They also inspired other fairy tale
collectors, as demonstrated when Lang inspired Yei Theodora Ozaki to compile
Japanese Fairy Tales. In parallel, authors like George MacDonald and Hans Christian
Andersen carried on the literary fairy tale tradition. While Andersen occasionally used
elements from traditional folktales in his writing, he used fairytale themes and plots
much more frequently. The Light Princess is an example of a new literary fairy tale
that MacDonald combined elements from. Other works in the genre that would later
be classified as fantasy include The Princess and the Goblin and Lilith.
Cross-cultural transmission
The common components of fairy tales that can be found on different
continents have been the subject of two origin theories. One says that each individual
story originated from a single source and spread over many centuries; the other is that
since these fairy tales are based on everyday human experiences, they can arise
individually in a variety of origins.
Several diverse cultures have their own versions of fairy tales, many of which
share remarkably similar themes, characters, and stories. Since the oral nature makes
it impossible to trace the route except by inference, many researchers believe that this
is caused by the spread of such tales as people repeat tales they have heard in other
countries. Folklorists have attempted to trace the origin of a story using internal
evidence, which is not always clear. Joseph Jacobs noted a difference between The
17

Ridere of Riddles, a Scottish version of the story, and The Riddle, a version collected
by the Brothers Grimm. In The Ridere of Riddles, one hero ends up polygamously
married, which may indicate an ancient practice, while The Riddle's simpler riddle
may suggest greater antiquity.
Inconclusive results were obtained when "Finnish" (or historical-geographical)
school folklorists tried to trace the origins of fairy tales. When studying the impact of
Perrault's tales on those gathered by the Brothers Grimm, for example, influence,
particularly within a constrained space and period, might sometimes be more obvious.
As the only independent German adaptation, Little Briar-Rose looks to be a variation
of Perrault's The Sleeping Beauty. Parallel to this, even if the Grimms' version of
Little Red Riding Hood has a different ending, the similarities in the tales' openings
indicate an influence (perhaps derived from The Wolf and the Seven Young Kids).
Fairy tales frequently reflect the local culture through the motif choices,
storytelling techniques, and character and setting portrayals.
The Brothers Grimm claimed that European fairy tales were much older than
written records since they were derived from the common cultural heritage of all
Indo-European peoples. Research by the anthropologist Jamie Tehrani and the
folklorist Sara Graca Da Silva utilizing phylogenetic analysis a method created by
evolutionary biologists to determine the relationships between living and extinct
species supports this viewpoint. Jack and the Beanstalk, which can be traced to the
division of Eastern and Western Indo-European more than 5000 years ago, was one of
the stories analyzed. Rumpelstiltskin and Beauty and the Beast both seem to have
been developed around 4,000 years ago.The story of The Smith and the Devil (Deal
with the Devil) appears to date from the Bronze Age, some 6000 years ago.Various
other studies converge to suggest that some fairy tales, for example the swan maiden,
could go back to the Upper Palaeolithic.
Association with children
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A fairy tale's original audience included both adults and children equally.
Although literary fairy tales appeared in adult-oriented works, they began to be linked
with children's literature in the 19th and 20th centuries.
The précieuses, especially Madame d'Aulnoy, wrote their works with adults in
mind, but they viewed the stories that servants and other women of lower social
classes would tell young children as their inspiration. In fact, a countess is heard
saying in a novel from that era that she adores fairy tales as if she were still a kid
when her suitor offers to tell her one. The Brothers Grimm titled their collection
Children's and Household Tales and rewrote their stories in response to complaints
that they were not appropriate for children. Jeanne-Marie Le Prince de Beaumont, one
of the late précieuses, redacted a version of Beauty and the Beast for children, and it
is her tale that is most well-known today.
Fairy tales were updated in the contemporary period so that kids could read
them. The Brothers Grimm focused primarily on sexual references; Rapunzel revealed
the prince's visits by inquiring as to why her clothing had become tight in the first
edition, allowing the witch to conclude that she was pregnant; however, in later
editions, Rapunzel carelessly revealed that it was simpler to pull up the prince than
the witch. On the other hand, violence in general, especially when punishing villains,
was increased. [4]. Violence was removed in other, later drafts; J. R. R. Tolkien
observed that the cannibalistic stew from The Juniper Tree was frequently removed
from versions of the book aimed at children. The Victorian era's emphasis on moral
lessons led to changes to classic stories like Cinderella, which George Cruikshank
revised in 1854 to include themes of temperance. "In a utilitarian era, above all other
periods, it is a matter of great significance that fairy stories should be honored," his
friend Charles Dickens protested [3;182]
This expurgation was fiercely opposed by psychoanalysts like Bruno
Bettelheim because it diminished the value of older fairy tales as means of
symbolically resolving concerns for both children and adults. Bettelheim believed that
19

the harshness of these tales was a sign of psychological tensions. Children do learn
coping mechanisms from fairy tales. Fairytales and folktales, to paraphrase Rebecca
Walters, "are part of the cultural fabric that can be utilized to address children's
worries... and provide them some role training in a way that values the children's
window of tolerance." Children learn social skills from these fairy tales and are
assisted in locating their position in society. Children also learn other crucial lessons
from fairy tales. For instance, Tsitsani et al. studied kids to find out the advantages of
fairy tales. Fairy tales, particularly the color in them, parents of research participants'
children discovered, sparked their child's imagination when they were read to them
[86].Jungian Analyst and fairy tale scholar, Marie Louise Von Franz interprets fairy
tales[87] based on Jung's view of fairy tales as a spontaneous and naive product of
soul, which can only express what soul is.[88] She interprets fairy tales as depictions
of many stages of encountering the reality of the soul. Because they are less
influenced by conscious material than myths and legends, they are the "purest and
simplest manifestation of collective unconscious psychological processes" and "they
depict the archetypes in their simplest, barest and most condensed form." The
archetypal images give us the finest hints to grasp the processes taking place in the
collective psyche in their purest form, according to this statement. Every fairy tale is a
relatively closed system compounding one essential psychological meaning which is
expressed in a series of symbolical pictures and events and is discoverable in these.
The fairy tale itself is its own best explanation; that is, its meaning is contained in the
totality of its motifs connected by the thread of the story. "I have come to the
conclusion that all fairy tales attempt to convey a single psychic fact. However, this
psychic fact is so complex, extensive, and difficult for us to comprehend in all of its
different facets that hundreds of tales and thousands of repetitions with a musician's
variation are required before this unknown fact is delivered into consciousness, and
even then the theme is not exhausted. This unknown fact is what Jung calls the Self,
which is the psychic reality of the collective unconscious. Every archetype is in its
20

essence only one aspect of the collective unconscious as well as always representing
also the whole collective unconscious.
Other famous people commented on the importance of fairy tales, especially for
children. For example, Albert Einstein once showed how important he believed fairy
tales were for children's intelligence in the quote "If you want your children to be
intelligent, read them fairytales. If you want them to be more intelligent, read them
more fairytales."
The adaptation of fairy tales for children continues. Walt Disney's influential
Snow White and the Seven Dwarfs was largely (although certainly not solely)
intended for the children's market. The anime Magical Princess Minky Momo draws
on the fairy tale Momotarō. Jack Zipes has spent many years working to make the
older traditional stories accessible to modern readers and their children.
Motherhood
Many fairy tales feature an absentee mother, as an example Beauty and the
Beast, The Little Mermaid, Little Red Riding Hood and Donkeyskin, where the
mother is deceased or absent and unable to help the heroines. Mothers are depicted as
absent or wicked in the most popular contemporary versions of tales like Rapunzel,
Snow White, Cinderella and Hansel and Gretel, however, some lesser known tales or
variants such as those found in volumes edited by Angela Carter and Jane Yolen
depict mothers in a more positive light.
Carter's protagonist in The Bloody Chamber is an impoverished piano student
married to a Marquis who was much older than herself to "banish the spectre of
poverty". The story is a variant on Bluebeard, a tale about a wealthy man who
murders numerous young women. Carter's protagonist, who is unnamed, describes her
mother as "eagle-featured" and "indomitable". Her mother is depicted as a woman
who is prepared for violence, instead of hiding from it or sacrificing herself to it. The
protagonist recalls how her mother kept an "antique service revolver" and once "shot
a man-eating tiger with her own hand."
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Literary
In contemporary literature, many authors have used the form of fairy tales for
various reasons, such as examining the human condition from the simple framework a
fairytale provides.Some authors seek to recreate a sense of the fantastic in a
contemporary discourse. Some writers use fairy tale forms for modern issues; this can
include using the psychological dramas implicit in the story, as when Robin
McKinley retold Donkeyskin as the novel Deerskin, with emphasis on the abusive
treatment the father of the tale dealt to his daughter.Sometimes, especially in
children's literature, fairy tales are retold with a twist simply for comic effect, such as
The Stinky Cheese Man by Jon Scieszka and The ASBO Fairy Tales by Chris
Pilbeam. A common comic motif is a world where all the fairy tales take place, and
the characters are aware of their role in the story, such as in the film series Shrek.
Other authors may have specific motives, such as multicultural or feminist
reevaluations of predominantly Eurocentric masculine-dominated fairy tales,
implying critique of older narratives. The figure of the damsel in distress has been
particularly attacked by many feminist critics. Examples of narrative reversal
rejecting this figure include The Paperbag Princess by Robert Munsch, a picture book
aimed at children in which a princess rescues a prince, Angela Carter's The Bloody
Chamber, which retells a number of fairy tales from a female point of view and
Simon Hood's contemporary interpretation of various popular classics.
There are also many contemporary erotic retellings of fairy tales, which
explicitly draw upon the original spirit of the tales, and are specifically for adults.
Modern retellings focus on exploring the tale through use of the erotic, explicit
sexuality, dark and/or comic themes, female empowerment, fetish and BDSM,
multicultural, and heterosexual characters. Cleis Press has released several fairy tale-
themed erotic anthologies, including Fairy Tale Lust, Lustfully Ever After, and A
Princess Bound.
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It may be hard to lay down the rule between fairy tales and fantasies that use
fairy tale motifs, or even whole plots, but the distinction is commonly made, even
within the works of a single author: George MacDonald's Lilith and Phantastes are
regarded as fantasies, while his "The Light Princess", "The Golden Key", and "The
Wise Woman" are commonly called fairy tales. The most notable distinction is that
fairytale fantasies, like other fantasies, make use of novelistic writing conventions of
prose, characterization, or setting.
Film
Fairy tales have been enacted dramatically; records exist of this in commedia
dell'arte, and later in pantomime.[Unlike oral and literacy form, fairy tales in film is
considered one of the most effective way to convey the story to the audience. The
advent of cinema has meant that such stories could be presented in a more plausible
manner, with the use of special effects and animation. The Walt Disney Company has
had a significant impact on the evolution of the fairy tale film. Some of the earliest
short silent films from the Disney studio were based on fairy tales, and some fairy
tales were adapted into shorts in the musical comedy series "Silly Symphony", such as
Three Little Pigs. Walt Disney's first feature-length film Snow White and the Seven
Dwarfs, released in 1937, was a ground-breaking film for fairy tales and, indeed,
fantasy in general.With the cost of over 400 percent of the budget and more than 300
artists, assistants and animators, Snow White and the Seven Dwarfs was arguably one
of the highest work force demanded film at that time. The studio even hired Don
Graham to open animation training programs for more than 700 staffs. As for the
motion capture and personality expression, the studio used a dancer, Marjorie Celeste,
from the beginning to the end for the best results. Disney and his creative successors
have returned to traditional and literary fairy tales numerous times with films such as
Cinderella, Sleeping Beauty, The Little Mermaid and Beauty and the Beast . Disney's
influence helped establish the fairy tale genre as a genre for children, and has been
accused by some of bowdlerizing the gritty naturalism and sometimes unhappy
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endings of many folk fairy tales. However, others note that the softening of fairy tales
occurred long before Disney, some of which was even done by the Grimm brothers
themselves.
Many filmed fairy tales have been made primarily for children, from Disney's
later works to Aleksandr Rou's retelling of Vasilissa the Beautiful, the first Soviet
film to use Russian folk tales in a big-budget feature. Others have used the
conventions of fairy tales to create new stories with sentiments more relevant to
contemporary life, as in Labyrinth, My Neighbor Totoro, Happily N'Ever After, and
the films of Michel Ocelot.
Other works have retold familiar fairy tales in a darker, more horrific or
psychological variant aimed primarily at adults. Notable examples are Jean Cocteau's
Beauty and the Beast and The Company of Wolves, based on Angela Carter's
retelling of Little Red Riding Hood.Likewise, Princess Mononoke, Pan's Labyrinth,
Suspiria, and Spike create new stories in this genre from fairy tale and folklore motifs.
In comics and animated TV series, The Sandman, Revolutionary Girl Utena,
Princess Tutu, Fables and MÄR all make use of standard fairy tale elements to
various extents but are more accurately categorised as fairytale fantasy due to the
definite locations and characters which a longer narrative requires.
A more modern cinematic fairy tale would be Luchino Visconti's Le Notti
Bianche, starring Marcello Mastroianni before he became a superstar. It involves
many of the romantic conventions of fairy tales, yet it takes place in post-World War
II Italy, and it ends realistically.
In recent years, Disney has been dominating the fairy tale film industry by
remaking their animated fairy tale films into live action. Examples include
Maleficent, Cinderella , Beauty and the Beast and so on.
Motifs
Any comparison of fairy tales quickly discovers that many fairy tales have
features in common with each other. Two of the most influential classifications are
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those of Antti Aarne, as revised by Stith Thompson into the Aarne-Thompson
classification system, and Vladimir Propp's Morphology of the Folk Tale.
Aarne-Thompson
This system groups fairy and folk tales according to their overall plot.
Common, identifying features are picked out to decide which tales are grouped
together. Much therefore depends on what features are regarded as decisive.
For instance, tales like Cinderella in which a persecuted heroine, with the help
of the fairy godmother or similar magical helper, attends an event in which she wins
the love of a prince and is identified as his true bride are classified as type 510, the
persecuted heroine. Some such tales are The Wonderful Birch; Aschenputtel; Katie
Woodencloak; The Story of Tam and Cam; Ye Xian; Cap O' Rushes; Catskin; Fair,
Brown and Trembling; Finette Cendron; Allerleirauh.
Further analysis of the tales shows that in Cinderella, The Wonderful Birch,
The Story of Tam and Cam, Ye Xian, and Aschenputtel, the heroine is persecuted by
her stepmother and refused permission to go to the ball or other event, and in Fair,
Brown and Trembling and Finette Cendron by her sisters and other female figures,
and these are grouped as 510A; while in Cap O' Rushes, Catskin, and Allerleirauh, the
heroine is driven from home by her father's persecutions, and must take work in a
kitchen elsewhere, and these are grouped as 510B. But in Katie Woodencloak, she is
driven from home by her stepmother's persecutions and must take service in a kitchen
elsewhere, and in Tattercoats, she is refused permission to go to the ball by her
grandfather. Given these features common with both types of 510, Katie
Woodencloak is classified as 510A because the villain is the stepmother, and
Tattercoats as 510B because the grandfather fills the father's role.
This system has its weaknesses in the difficulty of having no way to classify
subportions of a tale as motifs. Rapunzel is type 310 (The Maiden in the Tower), but
it opens with a child being demanded in return for stolen food, as does Puddocky; but
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Puddocky is not a Maiden in the Tower tale, while The Canary Prince, which opens
with a jealous stepmother, is.
It also lends itself to emphasis on the common elements, to the extent that the
folklorist describes The Black Bull of Norroway as the same story as Beauty and the
Beast. This can be useful as a shorthand but can also erase the coloring and details of
a story.
Morphology
Vladimir Propp specifically studied a collection of Russian fairy tales, but his
analysis has been found useful for the tales of other countries. Having criticized
Aarne-Thompson type analysis for ignoring what motifs did in stories, and because
the motifs used were not clearly distinct, he analyzed the tales for the function each
character and action fulfilled and concluded that a tale was composed of thirty-one
elements ('functions') and seven characters or 'spheres of action' ('the princess and her
father' are a single sphere). While the elements were not all required for all tales,
when they appeared they did so in an invariant order except that each individual
element might be negated twice, so that it would appear three times, as when, in
Brother and Sister, the brother resists drinking from enchanted streams twice, so that
it is the third that enchants him. Propp's 31 functions also fall within six 'stages'
(preparation, complication, transference, struggle, return, recognition), and a stage can
also be repeated, which can affect the perceived order of elements.
One such element is the donor who gives the hero magical assistance, often
after testing him[20;39]. In The Golden Bird, the talking fox tests the hero by warning
him against entering an inn and, after he succeeds, helps him find the object of his
quest; in The Boy Who Drew Cats, the priest advised the hero to stay in small places
at night, which protects him from an evil spirit; in Cinderella, the fairy godmother
gives Cinderella the dresses she needs to attend the ball, as their mothers' spirits do in
Bawang Putih Bawang Merah and The Wonderful Birch; in The Fox Sister, a
Buddhist monk gives the brothers magical bottles to protect against the fox spirit. The
26

roles can be more complicated[20;82]. In The Red Ettin, the role is split into the
mother who offers the hero the whole of a journey cake with her curse or half with her
blessing and when he takes the half, a fairy who gives him advice; in Mr Simigdáli,
the sun, the moon, and the stars all give the heroine a magical gift. Characters who are
not always the donor can act like the donor[20;81]. In Kallo and the Goblins, the
villain goblins also give the heroine gifts, because they are tricked; in Schippeitaro,
the evil cats betray their secret to the hero, giving him the means to defeat them.
Other fairy tales, such as The Story of the Youth Who Went Forth to Learn What Fear
Was, do not feature the donor.
Analogies have been drawn between this and the analysis of myths into the
hero's journey.
Interpretations
Many fairy tales have been interpreted for their (purported) significance. One
mythological interpretation saw many fairy tales, including Hansel and Gretel,
Sleeping Beauty, and The Frog King, as solar myths; this mode of interpretation
subsequently became rather less popular[16;52]. Freudian, Jungian, and other
psychological analyses have also explicated many tales, but no mode of interpretation
has established itself definitively.
Specific analyses have often been criticized for lending great importance to
motifs that are not, in fact, integral to the tale; this has often stemmed from treating
one instance of a fairy tale as the definitive text, where the tale has been told and
retold in many variations.In variants of Bluebeard, the wife's curiosity is betrayed by a
blood-stained key, by an egg's breaking, or by the singing of a rose she wore, without
affecting the tale, but interpretations of specific variants have claimed that the precise
object is integral to the tale[16;46].
Other folklorists have interpreted tales as historical documents. Many[quantify]
German folklorists, believing the tales to have preserved details from ancient times,
have used the Grimms' tales to explain ancient customs.[11]
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One approach sees the topography of European Märchen as echoing the period
immediately following the last Ice Age. Other folklorists have explained the figure of
the wicked stepmother in a historical/sociological context: many women did die in
childbirth, their husbands remarried, and the new stepmothers competed with the
children of the first marriage for resources.
In a 2012 lecture, Jack Zipes reads fairy tales as examples of what he calls
"childism". He suggests that there are terrible aspects to the tales, which (among other
things) have conditioned children to accept mistreatment and even abuse[11].
Fairy tales in music
Fairy tales have inspired music, namely opera, such as the French Opéra féerie
and the German Märchenoper. French examples include Gretry's Zémire et Azor, and
Auber's Le cheval de bronze, German operas are Mozart's Die Zauberflöte,
Humperdinck's Hänsel und Gretel, Siegfried Wagner's An allem ist Hütchen schuld!,
which is based on many fairy tales, and Carl Orff's Die Kluge.
Ballet, too, is fertile ground for bringing fairy tales to life. Igor Stravinsky's first
ballet, The Firebird uses elements from various classic Russian tales in that work.
Even contemporary fairy tales have been written for the purpose of inspiration
in the music world. "Raven Girl" by Audrey Niffenegger was written to inspire a new
dance for the Royal Ballet in London. The song "Singring and the Glass Guitar" by
the American band Utopia, recorded for their album "Ra", is called "An Electrified
Fairytale". Composed by the four members of the band, Roger Powell, Kasim Sulton,
Willie Wilcox and Todd Rundgren, it tells the story of the theft of the Glass Guitar by
Evil Forces, which has to be recovered by the four heroes.
Conclusion on chapter I
Nikolay Nikolayevich Nosov (Russian: Николай Николаевич Носов,
Ukrainian: Микола Миколайович Носов; 23 November 1908 in Kyiv 26 July 1976
in Moscow) was a Soviet and Ukrainian children's literature writer, the author of a
28

number of humorous short stories, a school novel, and the popular trilogy of fairy tale
novels about the adventures of Dunno and his friends.
Early life. He was born in a family of an estrada artist. From 1927 to 1929 he
was a student of Kyiv Institute of Art, from where he moved to Gerasimov Institute of
Cinematography, from which he graduated in 1932.
Career. The literary debut of Nosov was in 1938. In 1932 – 1951 he worked as
a producer of animated and educational films, including ones for the Red Army,
having earned the Order of the Red Star in 1943.
In 1938 Nosov began to publish his stories, including Zatejniki (Russian:
Затейники, roughly translates as Jokers); Alive Hat, Cucumbers, Miraculous
Trousers, and Dreamers. These stories were published mainly in the magazine for
children Murzilka and many of them make up the foundation of the Nosov's first
collection. Nosov introduced a new hero, naïve and sensible, naughty and curious
fidget obsessed by craving for activities and always getting into unusual, often comic
situations into children's literature.
The most popular works became his stories for teenagers Merry Family, The
Kolya Sinitsyn's Diary , Vitya Maleev at School and at Home . This last one received
State Stalin Prize in 1952.
Long-term fame and love of readers were gained by his fairy stories about
Dunno (Neznaika). The first of those is the fairy tale Vintik, Shpuntik and vacuum
cleaner. Further the hero appeared in the famous trilogy consisting of fairy tale novels
The Adventures of Dunno and His Friends, Dunno in Sun City and Dunno on the
Moon.
The writer is also the author of an autobiographical work Story about My
Friend Igor and a memoirs narrative Mystery on a Well Bottom.
Death. Nosov died on 26 July 1976 in Moscow, RSFSR, Soviet Union at age of
67, He was buried at Kuntsevo Cemetery
29

Russian fairy tales are deeply rooted history in Slavic Mythology. They are
vibrant, riveting and poetic tales of gods and demons, heroes and witches. Pagan
slavic religion had deities for everything, such as water and household spirits; these
stories for children taught people about manners, traditions, and warned against
natural dangers.
Russian fairy tales nearly saw their extinction in the wake of Soviet rule
because communist proponents found folklore detrimental to furthering their ideals.
However, a man, Maxim Gorky, stressed the importance and artistic value of the
country’s folklore, and convinced Soviet leaders that fairy tales were, in fact, in line
with communistic beliefs, and would help foster patriotism and support a burgeoning
soviet society. Because of Gorky’s efforts, the 1920s are considered the Golden Age
of Russian Folklore, as research and preservation efforts were expanded to increase
the country’s collection of fairy tales and folk tales. Many new writers took the stage
and wrote contemporary folklore that extolled political leaders, like Stalin and Lenin,
and imparted communist ideals and morals. In this way, Russia’s folklore was not
only a means to maintain tradition and impart values and morals to a community, but
also a means of distributing soviet propaganda to the masses.
Russian fairy tale heroes and Slavic gods continue to be depicted in the modern
arts of Russia, and many holidays are held annually to celebrate their favorite heroes.
Though Russia adopted Christianity in the 10th century, and tried to replace Slavic
gods with Christian icons, the heroes of lore persisted and could never be entirely
eradicated. Russia has such a wide and rich collection of folklore due largely to
folklorist Alexander Afanasyev, who published more than 600 Russian folk tales and
fairy tales, and thanks to British scholar, Robert Steele, who gathered and
anthologized numerous folk tales from the region into the fairy tale collection known
as The Russian Garland. Poet Alexander Pushkin is a beloved Russian author who
published verse based on fairy tales and folk tales from Russia.
30

CHAPTER II. NIKOLAY NIKOLAYEVICH NOSOV'S NOVEL " DUNNO "
2.1 DUNNO
Dunno, or Know-Nothing or Ignoramus (Russian: Незнайка, Neznayka that is
Don'tknowka (ka - the Russian suffix here for drawing up the whole name in a
cheerful form); from the Russian phrase "не знаю" ("ne znayu", don't know) is a
character created by Soviet children's writer Nikolay Nosov [1;185]. The idea of the
character comes from the books of Palmer Cox [2;528].
Dunno, recognized by his bright blue hat, canary-yellow trousers, orange shirt,
and green tie, is the title character of Nosov's trilogy, The Adventures of Dunno and
his Friends, Dunno in Sun City, and Dunno on the Moon. There have been several
movie adaptations of the books [22].
Names
His names are translated differently in various languages:
 Albanian: Dinpak
 Arabic: لهاجلا
 Azerbaijani: Bilməz
 Bulgarian: Незнайко
 Bengali: আনা ড়ি�
 Czech: Neználek
 German: Nimmerklug
 Hebrew: ירוברוב
 Spanish: Nosabenada
 Estonian: Totu
 Hindi: Najanu
 Hungarian: Nemtudomka
 Armenian:
Անգետիկը
 Georgian: ნეზნაიკა
 Lithuanian: Nežiniukas
31

 Latvian: Nezinītis
 Polish: Nieumiałek
 Romanian: Habarnam
 Russian: Незнайка
 Slovak: Nevedko
 Slovene: Neznalček
 Sinhalese: Wada Bari Daasa
 Ukrainian: Незнайко
 Vietnamese: Mít Đặc
 simplified Chinese: 小无知 ; traditional Chinese: 小無知
Plot summaries
The three fairy tale novels follow the adventures of the little fictional childlike
people living in "Flower Town". They are described to be sized like "medium
cucumbers", a quality that has earned them the name "shorties" or "mites". All fruits
and vegetables growing in Flower Town are, however, their regular size, so the
Shorties invent sophisticated methods of growing and harvesting them. In Nosov's
universe, each shorty occupies his/her own niche in the community and is named
accordingly.
The Adventures of Dunno and his Friends
In Flower Town, Dunno gets into heaps of trouble. First, he becomes convinced
that the sun is falling and manages to scare half the town before Doono, Dunno's
brainy antithesis (his name is derived from the Russian "знаю", I know) clears
everything up. Then he proceeds to try music, art, and poetry, but his unorthodox
endeavors only irritate his friends, and he is forced to quit. Next, ignoring the
warnings of Swifty, Dunno crashes Bendum and Twistum's car into the Cucumber
River and ends up in the hospital. He then gets into a fight with his best friend Gunky
for not ending his friendships with the girl-shorties Pee-Wee and Tinkle (generally,
boy-Mites did not like girl-Mites, and vice versa).
32

Doono proposes to build a hot air balloon and go on an adventure. He and his
friends begin extracting rubber, weaving the basket, and making emergency
parachutes out of dandelions. A large rubber balloon is then inflated, fastened to the
basket, and filled with hot air. The parachutes and other supplies are loaded, and
sixteen seats are accommodated for. Everyone helps with preparations except for
Dunno, who is too busy bossing everyone around and providing useless advice. The
day of the departure comes, and Doono, Dunno, and fourteen other Mites come on
board. Shot takes with him his dog, Dot. By this time, half the town still does not
believe the balloon will be able to fly, but the balloon successfully rises off the
ground, and all the shorties of Flower Town cheer. Gunky waves to Dunno from the
ground but Dunno shuns him.
The balloon eventually crashes near the Greenville, inhabited only by girl-Mites
(boy-Mites had left for the Kite Town where they can carry out freely their boyish
activities), who took balloonists to the hospital to care for them. As Doono (who
escaped from the balloon by parachute before the crash) is absent, Dunno describes
himself to girl-Mites as balloon inventor and boy-Mites' leader. When he visits the
hospital, he talks boy-Mites into supporting his version of facts, in exchange
promising to help them out of hospital as soon as possible. Soon it became clear that
the only boy-Mite who has to be cured is Shot (who meanwhile lost Dot that has run
back to the Flower Town), but the hospital physician, Dr. Honeysuckle, does not want
to take all the other boy-Mites together out because she thinks that boy-Mites cause a
lot of trouble, so the boy-Mites are taken out in pairs. After being taken out, the boy-
Mites help girl-Mites to gather harvest, and Bendum and Twistum go to the Kite
Town to repair girl-Mites' car. Then Bendum and Twistum return to Greenville, and
some Kite Town dwellers join them and also gather harvest, including Nails who used
to be a hooligan. With the time, Doono finds the other Mites, Dunno's lies are
discovered and he's mocked by boy-Mites, but consoled by girl-Mites. Dunno
becomes friends with the girl-Mite Cornflower, and after returning home, Shot finds
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Dot, and Dunno makes peace with Gunky, becomes best friends with Pee-Wee,
improves his reading skills, and learns cursive writing to correspond with Cornflower.
Dunno in Sun City
Dunno continues his self-studies: he learns grammar and arithmetic and begins
learning physics, but physics bores him, and he begins to meet with his best friend
Pee-Wee, and then both read fairy-tales. Dunno dreams of a magic wand, and Pee-
Wee says she has read in one book that one may get a magic wand from a wizard for
three good actions, but one who wants to get the magic wand should not think of a
reward. After the meeting, Dunno tries to do good actions, but on the first day he does
too many bad actions, namely quarrels with the other Mites of his house. On the
following day, Dunno does only good actions, but a wizard does not come to him.
Pee-Wee explains that it is because Dunno thinks of a reward, namely the magic
wand. During several months, Dunno does good actions and dreams of a magic wand
but at the same time thinks getting it is unrealistic. But then in a sunny day after
several days of rain Dunno, having forgotten about his dream, frees Dot from its
kennel and meets an old man. Dunno protects the man from Dot's bite and asks
whether Dot has not already bit him. Then the old man says he is a wizard and gives
Dunno a magic wand. The wizard alerts Dunno that the magic wand will not work
after three bad actions.
After receiving the magic wand from the wizard, Dunno, Pee-Wee, and their
accidental acquaintance Pachkulya Pyostrenky (who does not like to wash himself
and never gets surprised at anything) wish for a car and go on a road trip to Sun City.
Because of the magic wand, Dunno gains a skill of conducting the car without having
studied it. During their journey, they see many technological marvels like futuristic
cars, bizarre architecture, televisions that can communicate with you, computerized
chess players, etc. The name "Sun City" comes from the fact that all days in the city
are sunny because of cloud seeding. However, the travellers also run into some
trouble in the city. On the very day Dunno arrives to Sun City, he quarrels with a Mite
34

called Listik and uses his magic wand to turn him into a donkey. On the following
day, Dunno reads in a newspaper that Listik is lost but a donkey mysteriously
appeared in Sun City and is taken into the city zoo. Then Dunno goes to the zoo and
then turns two donkeys and a hinny into Mites, being not sure which one of them is
Listik. Unfortunately, the donkeys and the hinny turned into Mites become hooligans,
and some other Sun City Mites become hooligans too, thinking it is a new trend.
When the Mites Chubchik and Yorshik water a Sun City garden with a hose, one of
the former donkeys, Pegasik, begins to spray water on Mites, and Dunno wants to
take away the hose. Then two policemen, called Svistulkin and Karaulkin, see the
accident and put Dunno into a police station. Dunno uses his magic wand to destroy
the station, and Svistulkin gets a concussion because of falling of a brick on him.
Then Dunno, Pee-Wee, and Pachkulya Pyostrenky continue the journey, and
Svistulkin goes home but comes to a wrong flat inhabited by two Mites called Shutilo
and Korzhik. After Shutilo and Korzhik have come, Svistulkin goes home but
mistakenly wears Korzhik's jacket with his driver licence in its pocket. Then
Svistulkin stumbles over a rope put on the sidewalk by the former donkeys and hinny
and gets concussed again. Having lost conscience, he is took away to the Sun City
hospital, where he is mistaken for Korzhik. Newspapers state that Svistulkin is lost.
When Svistulkin gets healthy, doctors of the hospital think he is still ill because he
says he is Svistulkin; but soon the doctors trust him after having met with the real
Korzhik. But the doctors still do not discharge Svistulkin from the hospital because he
says something about "a wizard in yellow trousers" (meaning Dunno), and the doctors
think it is a true fantasy.
Trouble in Sun City caused by the hooligans continues, and then Dunno realises
that no one of the former donkeys and hinny is Listik, so he goes once again to the
zoo to find the real Listik. In the zoo, Dunno is told that the information in the
newspaper was mistaken and Listik is in the Sun City circus. Then Dunno decides to
tease a monkey, and the monkey takes away his magic wand. After the zoo is closed
35

because the night has come, Dunno and Pachkulya Pyostrenky dare to climb over the
zoo fence, but in the dark they come to a lion's cage instead of the monkey's cage. On
the following day, Dunno finds his magic wand in the zoo, but it ceases to work. Then
the wizard comes to Dunno and explains him that the wand does not work because of
three bad deeds: turning Listik into a donkey, turning the donkeys and the hinny into
Mites, and teasing the monkey.
Dunno asks the wizard whether a wish can come true without the magic wand.
The wizard says that a wish can come true if it is good. Then Dunno wishes that the
Sun City return to its previous state; Pee-Wee wished to return to Flower Town; and
Pachkulya Pyostrenky wished to be clean without needing to wash himself. The
wizard says that Pachkulya Pyostrenky will feel good only after washing himself.
Svistulkin is discharged from the hospital; Listik is again a Mite; the donkeys
and the hinny become what they were and return to the zoo.
Dunno, Pee-Wee, and Pachkulya Pyostrenky return to Flower Town. Pachkulya
Pyostrenky goes home, and Dunno and Pee-Wee discuss the Sun City and its
futuristic utopia.
Dunno on the Moon
Doono discovers that his moon rock (that he obtained from his previous travel to
the Moon) creates a no gravity zone when interacting with a magnetic field. He uses
this knowledge to build a rocket ship that will go to the moon much more easily
because of being virtually weightless. However, Dunno and Roly-Poly are not
allowed to go; Dunno, because of his undisciplined behavior, and Roly-Poly, because
of his inability to cope with non-gravity effects and excessive food consumption. The
night before the rocket launch, Dunno and Roly-Poly sneak into the ship and
accidentally launch the rocket.
When they arrive on the moon, Dunno and Roly-Poly become separated and
Dunno falls through a cave and discovers a whole separate society of mites living
inside the moon. However, unlike on Earth, these mites do not have "giant food" (that
36

is, their fruit and vegetables are sized in proportion to the mites, rather than to normal
humans like on Earth). The moon society is a corrupt capitalistic state: the
millionaires control all the factories and squander their money away on unnecessary
luxuries, the police are violent, corrupt, and stupid, everyday citizens struggle to
survive and live in rat infested barracks.
Dunno gets thrown into jail for not having money to pay for his meal at a
restaurant and is mistaken for a wanted criminal by the stupid police officers. In jail
he meets Miga - a fast-talking schemer, and Kozlik - a poor, gentle worker. Upon
getting released from jail, Miga introduces Kozlik and Dunno to Zhulio - another con
man, and the four decide to start a company selling stocks to raise money to get "giant
seeds" from Dunno's rocket ship and plant them on the moon. The stocks sell well and
soon the four friends have much money. However, some of the local millionaire
businessmen are worried that giant food will mean that poor workers can get richer
and the millionaires may lose money. Their leader, Spruts, convinces Miga and
Zhulio to steal the money and run leaving Dunno and Kozlik jobless and penniless.
Meanwhile, Roly-Poly finds the same cave and also goes inside the moon.
However, he quickly discovers salt and opens his own business making and selling it
(salt was unknown for moon inhabitants). He gets rich but then goes bankrupt when
the price of salt becomes too low because of a dumping scheme. Then Roly-Poly
becomes an average worker.
Dunno and Kozlik work odd jobs but are still starving and living in poverty in a
rat infested basement. Kozlik gets bit by a rat and becomes sick. Just then, Dunno gets
a job as a dog nanny for a rich woman, Mrs Minoga ("lamprey"), and makes enough
money for a doctor for Kozlik who slowly recovers, but Mrs. Minoga finds out that
Dunno took her dogs to the rat infested basement and fires him. Dunno and Kozlik
then end up living on the street. Since Kozlik has lost his hat and Dunno lost his shoes
they are breaking the law and get sent to Fool's Island which has a toxic atmosphere
that turns all the people there into sheep which are then sheared for their wool.
37

Later Dunno's friends come to Moon with giant seeds, which results in
elimination of poverty and establishment of a communism-like economical system
and saves Dunno and Kozlik from Fool's Island.
38

2.2 Characters
Flower Town dwellers
Named for its abundance of flowers, all streets are named after flowers as well.
The Flower Town is located by the Cucumber River, on the shore of which many
cucumbers grow. Here boy-shorties and girl-shorties live together, but often have
trouble getting along [17;104].
Dunno's house
Dunno's house is inhabited by sixteen boy-shorties:
 Dunno (Незнайка, from Russian "не знаю", "I don't know") - the title character
of the trilogy and the most infamous personality in Flower Town. As an anti-
hero, this boy-shorty is both ignorant, lazy, rude, and conceited and at the same
time curious, kind, enterprising, and unbelievably lucky. He is highly
reminiscent of the popular Russian folk hero Ivan the Fool, a flawed young man
who always manages to come out on top. He also resembles Khlestakov of
Nikolai Gogol.[6;139]
 Doono (Знайка, from "знаю", "I know") - a boy-shorty scientist, the smartest of
the boy-shorties, often adopts the leadership role
 Bendum (Винтик, or "little bolt") and Twistum (Шпунтик, from "little peg") -
boy-shorty mechanics
 Trills (Гусля, from "гусли", or "gusli") - a boy-shorty musician
 Blobs (Тюбик, or "tube") - a boy-shorty painter
 Swifty (Торопыжка, from "торопиться", or "to hurry") - a boy-shorty who is
always in a hurry
 Scatterbrain (Растеряйка, from "растерять", or "to lose") - a boy-shorty who
always loses and forgets things
 Dr. Pillman (Доктор Пилюлькин, from "пилюля", or "pill") - a boy-shorty
physician
 Roly-Poly (Пончик, or "doughnut") - a very chubby boy-shorty who likes to eat
39

sweets
 Treacly-Sweeter (Сиропчик, or "little syrup") - a very chubby boy-shorty who
likes to drink carbonated water with syrup
 Shot (Пулька, from "пуля", "bullet") - a boy-shorty hunter
 Dot (Булька, from "бульдог", "бультерьер", or "bulldog", "bull terrier") -
Shot's dog
 Grumps (Ворчун, from "ворчать", "to grumble") - a boy-shorty who always
grumbles and complains
 Mums (Молчун, from "молчать", "to be silent") - a boy-shorty who is always
quiet
 P'raps (Авоська, from "авось", "perhaps" [colloquial]) and Prob'ly (Небоська,
from "небось", "probably" [colloquial]) - boy-shorties, adventure lovers
Other Flower Town dwellers
 Gunky (Гунька) - a boy-shorty, Dunno's best friend
 Pee-Wee (Кнопочка, or "little button") - a girl-shorty who becomes best friends
with Dunno
 Daisy (Ромашка, or "camomile") - a girl-shorty
 Posey (Цветик, or "bloomer") - a boy-shorty poet
 Tinkle (Мушка, from "муха", or "fly" [insect]) - a girl-shorty
 Glass-Eye (Стекляшкин, from "стекляшка", or "piece of glass") - a boy-shorty
astronomer
 Sinker (Топик), a boy-shorty
 Midge (Микроша), a boy-shorty
 Pachkulya Pyostrenky (Пачкуля Пёстренький, or "dirty and garishly spotted") -
a boy-shorty who is always dirty (does not like to clean himself and has a unique
ability to get dirty very quickly) and never surprised at anything
 Kapelka (Капелька, or "little drop") - a girl-shorty who cries when it rains
Greenville dwellers
40

Named for its abundance of trees, only girl-shorties live here.
 Honeysuckle (Медуница, "lungwort") - a girl-shorty doctor, head of the
Greenville hospital
 Cornflower (Синеглазка, from "синие глаза", "blue eyes") - a pretty blue-eyed
girl-shorty
 Snowdrop (Снежинка, "snowflake") - a pretty fair-skinned girl-shorty
 Blossom (Самоцветик, from "самоцвет", "gem") - a girl-shorty poet
 Bunny (Заинька, "little hare") and Chippy (Белочка, from "little squirrel") - girl-
shorties with animals embroidered on their dresses
 Flitty (Стрекоза, "dragonfly") - a girl-shorty
 Minny (Галочка, "little jackdaw") - a girl-shorty with long black hair
 Winny (Ёлочка, "little spruce") - a girl-shorty
 Margy (Маргаритка, "daisy") - a girl-shorty
 Fluff (Кубышка, a kind of jar or water lily Nymphaea lutea) - a chubby girl-
shorty
 Kitty (Кисонька, "kitty") - a girl-shorty
 Birdie (Ласточка, "swallow" [bird]) - a girl-shorty, Kitty's friend
 Thistle (Соломка, "little straw") - a smart girl-shorty who bred watermelons as
well as other fruit
 Button (Пуговка, "button") - a girl-shorty
Kite Town dwellers
Named for its abundance of decorative kites, only boy-shorties live here.
 Nails (Гвоздик, "little nail" [the metal kind]) - a boy-shorty who makes a lot of
trouble
 Pretzel (Бублик, "bagel") - a boy-shorty who drives a car
 Taps (Шурупчик, "little screw") - a boy-shorty inventor
 Slick (Смекайло, from "смекать", "to grasp quickly") - a pretentious boy-shorty
writer
41

Sun City dwellers
Named for its perpetually sunny weather, it is a shorty utopia noted for its
incredible technological advances.
 Kalachik (Калачик, sort of a larger bagel) - a boy-shorty farming equipment
operator
 Listik (Листик, "small sheet of paper" or "a leaf") - a boy-shorty who loves to
read and whom Dunno magically turned into a donkey
 Bukovka (Буковка, "little letter" [of the alphabet]) - a girl-shorty who loves to
read, Listik's best friend
 Liliya (Лилия, "lily") - a girl-shorty, director of hotel Malvaziya
 Pegasik (Пегасик, "small Pegasus"), Brykun (Брыкун, from "брыкаться", "to
kick"), and Kaligula (Калигула, "Caligula") - two donkeys and a hinny whom
Dunno magically turned into boy-shorties
 Chubchik (Чубчик, "forelock") - a boy-shorty gardener
 Yorshik (Ёршик, "little ruff") - a boy-shorty, leader of the mass of passerby that
Pegasik and Dunno sprayed with water
 Svistulkin (Свистулькин, from "свистулька", "clay whistle") and Karaulkin
(Караулькин, from "to be on watch") - boy-shorty policemen
 Kubik (Кубик, "block, brick, little cube") - a boy-shorty architect
 Klyopka (Клёпка, from "rivet") - a boy-shorty engineer
 Fuksiya (Фуксия, "fuchsia") and Selyodochka (Селёдочка, "small herring") -
girl-shorty scientists
 Nitochka (Ниточка, "little thread") - a girl-shorty modeller and chess player
 Karasik (Карасик, "little crucian") - a boy-shorty clothing factory worker and
actor
 Igolochka (Иголочка, "little needle") - a girl-shorty clothing factory worker
 Figura (Фигура, "[chess] piece") - a boy-shorty Sun City chess champion
 Shutilo (Шутило, from "шутить", "to joke") - a boy-shorty who likes to joke
42

 Korzhik (Коржик, "shortcake") - a boy-shorty
Moon dwellers
Names of Moon dwellers and Moon cities resemble English, German, Italian and
Spanish words amalgamated with Russian roots, e.g. Davilon (from давить to
suppress and Вавилон Babylon), Grabenberg (from грабить to rob and …berg a
typical German-like toponym), Brekhenville (from брехать to lie or to bark (slang)
and …ville typical French like toponym), Los Svinos (from свинья a pig and Los.. a
typical Spanish-like toponym prefix, e.g. Los Angeles) etc [14;229].
Millionaires:
 Gryazing (Грязинг, from «грязь» dirt)
 Spruts (Спрутс, from спрут a giant octopus)
 Dubs (Дубс, from «дуб» «oak», also «dumb man» in Russian)
 Zhading (Жадинг, from «жадина» «greedy person»)
 Skuperfield (Скуперфильд, an amalgamated word from скупердяй niggard and
the English surname Copperfield)
Police and justice (whose names share the same suffix):
 Figl (Фигль) a street patrol
 Migl (Мигль, from «фигли-мигли», figli-migli shenanigans) an investigator
 Drigl (Дригль) a jailer
 Vrigl (Вригль, an amalgamated word from врать to lie and the English surname
Wrigley) a judge
Thieves:
 Vikhor (Вихор, «forelock») and Striga (Стрига, from «стриженный» cropped)
Dunno’s jailmates
 Miga (Мига, from «миг» a brief instant, or «мигать» «to blink») a cheater who
meets Dunno in jail and with Zhulio’s help talks him into founding a «Giant
Plants Company»
 Zhulio (Жулио, an amalgamated word from жулик a swindler, cheater, and the
43

Spanish name Julio) a firearms-store owner, Miga’s friend
 Krabs (Крабс, from «краб» «crab») Sproots' personal assistant
Other citizens:
 Klops (Клопс, from «клоп» a blood-sucking «bug» or «Heteroptera») a rich
Moon dweller whose property in Davilon Dunno first lands at
 Fiks (Фикс) and Feks (Фекс) Klops' valets
 Kozlik (Козлик a little goat) a smart unemployed Moon dweller who quickly
becomes Dunno’s friend after they meet in jail
 Khaps (Хапс, from «хапать» to grab) a hotel owner in Davilon
 Sedenky (Седенький, from «седой» «grey-haired») a poor Moon dweller sent
by peasants to buy a «Giant Plants Company» share
 Drakula (Дракула) a rich Moon dweller, sea coast landlord who ruins Roly-
Poly’s salt business by increasing prices to access salt crystals on his land
 Minoga (Минога, «lamprey») a rich Moon dweller who hires Dunno to care
after her two dogs
 Piskarik (Пискарик, from «пескарь» «gudgeon»), Leshchik (Лещик, from
«лещ» «bream»), Somik (Сомик, from «сом» «catfish»), Sudachok (Судачок,
from «судак» «perch») poor Moon dwellers, waterpark employees who befriend
Roly-Poly after he lost his wealth and forced to work in a waterpark to earn his
living
Conclusion on chapter II
An important characteristic of the Dunno trilogy is its heavily didactic nature.
Nosov describes this as an effort to teach "honesty, bravery, camaraderie, willpower,
and persistence" and discourage "jealousy, cowardice, mendacity, arrogance, and
effrontery." Strong political undertones are also present. In addition to general
egalitarianism and feminism, communist tendencies dominate the works. The first
book takes the reader into a typical Soviet-like town, the second into a communist
44

utopia, and the third into a capitalistic satire. Nosov's captivating and humorous
literary style has made his ideologies accessible to children and adults alike.
At the same time, the Canadian anthropologist and critique of civilization and
education Layla AbdelRahim emphasizes the anti-disciplinary and anti-totalitarian
aspect of the Dunno trilogy.
Behind Dunno's apparent ignorance lies the exploring spirit that prefers
learning through its own experience rather than acquiring institutionalized knowledge
- in this regard Nosov points out that in everyday tasks Dunno succeeds perfectly.
Dunno's encounters with Dr Pillman and Doono - who knows everything - reveal the
oppressive nature of medical and scientific authority.
45

CONCLUSION
E.I. Nosov's literary work is diverse with an abundance of themes and motifs,
including the theme of war and the theme of the village.
The humanistic basis of the writer's creativity, the purity of moral feeling,
social and philosophical saturation, the artistic skill of the writer are of genuine
interest for careful study.
E.I. Nosov formed a special approach to the artistic depiction of the Great
Patriotic War.
Complex socio-historical and philosophical issues related to the events of the
Great Patriotic War and the subsequent fate of the victorious people, raised in the
prose of E.I. Nosov, were embodied in an artistically perfect form.
E.I. Nosov managed to take a worthy place in the great literature thanks to his
brilliant command of the Russian literary language. Extremely important for
understanding the creative concept of the author are the motives of his work,
including such as folklore or religious motives.
His use of folklore motifs and Christian overtones confirms the moral purity of
the heroes, the sanctity and rightness of their cause of protecting the weak, saving the
motherland from the enemy.
What is common in the works of E.I. Nosov and in ancient Russian literature is
that the main defender of his native land is a peasant plowman, a hard worker
endowed with high spiritual qualities that help him win. The writer refers to some
poetic techniques of the heroic epic and the military story.
In the story "The Usvyat Helmet-Bearers", the writer vividly and convincingly
reveals the origins of national heroism, shows the Russian national character in all its
greatness and beauty.
Russian Russian village spiritual traditions determine a crucial role in the
upbringing and formation of not only the inhabitants of Usvyat, but also all the heroes
of the writer, representing the great Russian nation the people who defeated fascism.
46

The mature prose of E.I. Nosov has acquired an organic lyrical and
psychological form of expression. Presenting the chronicle of the fees for the war of
Kasyan, a peasant from the village of Usvyaty, his farewells with his wife and
children, the writer reveals the scale and historicism of thinking and creates a new
image of the protagonist of the story.
Folklore motifs, historically inherent in a folk tale, are visible in the course of
the story itself and in the speech characteristics of the characters, they lead to an
understanding of the world as a living organism.
All the variety of folk-poetic genres is organically included in Nosov's work
and is vividly manifested in the story "The Usvyat Helmet-bearers".
47

LIST OF LITERATURE
1. Axel Delwig (2012). Life in Moscow; Communism and now. Lulu.com. p.
185.
2. Ben Hellman (2013). Fairy Tales and True Stories: The History of Russian
Literature for Children and Young People (1574 - 2010). BRILL. p. 528.
3. Briggs. K.M. The Fairies in English Tradition and Literature, University of
Chicago Press, London, 1967.
4. Byatt. A.S. "Introduction", Maria Tatar, ed. The Annotated Brothers Grimm.
5. Catherine Orenstein, Little Red Riding Hood Undressed, ISBN 0-465-04125-6
6. Catriona Kelly (2007). Children's World: Growing Up in Russia, 1890-1991.
Yale University Press. p. 139.
7. Dana Percec (2016). A Serious Genre: The Apology of Children's Literature.
Cambridge Scholars Publishing. p.
8. García Carcedo, Pilar (2020): Entre brujas y dragones. Travesía comparativa
por los cuentos tradicionales del mundo. Madrid: ed. Verbum. (Comparative
study in Spanish about Fairy Tales in the world)
9. Harry Velten, "The Influences of Charles Perrault's Contes de ma Mère L'oie
on German Folklore, Jack Zipes, ed., The Great Fairy Tale Tradition: From
Straparola and Basile to the Brothers Grimm.
10. Italo Calvino, Italian Folktales
11. Jack Zipes, The Great Fairy Tale Tradition: From Straparola and Basile to the
Brothers Grimm
12. John Clute and John Grant. The Encyclopedia of Fantasy. New York: St
Martin's Press, 1997.
13. Layla AbdelRahim (2014). Children's Literature, Domestication, and Social
Foundation: Narratives of Civilization and Wilderness. Routledge. p. First
there was Dunno, then there were Rosenhan and Foucault.
14. Lawrence Grossberg, Della Pollock (1998). Cultural Studies - Vol 12.2.
48

Nosovning bilmasvoy haqidagi ertaklari - nikolai nikolayevich nosov is a russian writer and playwright

NOSOVNING BILMASVOY HAQIDAGI ERTAKLARI
CONTENTS

INTRODUCTION.. 3

CHAPTER I. NIKOLAI NIKOLAYEVICH NOSOV IS A RUSSIAN WRITER AND PLAYWRIGHT.. 5

1.1 Nikolay Nosov Biography, Life and Interesting Facts 5

1.2 Fairy tale. 9

Conclusion on chapter I 28

CHAPTER II. NIKOLAY NIKOLAYEVICH NOSOV'S NOVEL"DUNNO". 31

2.2 Characters 39

Conclusion on chapter II 45

CONCLUSION.. 46

LIST OF LITERATURE.. 48

INTERNET RESOURCES. 49

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