Preschool education and teaching of foreign languages and literature in primary

CONCLUSION


In addition to the intertextual East, the German romantic shows the reader something else. In order to meet the needs of the German population after the “gray war days”, as well as to create a cultural bridge between East and West, Gauf introduces numerous oriental attributes into the fabric of his works, creating a sense of comfort with their help. With his fairy tales, Gauf seems to be trying to “compete” with opium and alcohol, convincing the reader that this is a good way to escape from reality. Thus, one of the functions of the eastern space in the fairy tales of the German romantic is a departure, albeit a short-lived one, to a cozy, calm world. Far from being disappointed by the conquests of Germany, the expanse of the East, as it seems to us, was best suited for this purpose. For example, a significant amount of text in fairy tales can be devoted to describing the luxurious clothes of the hero or the process of consuming oriental goods, whether it be exotic sweets or smoking pipes. We can also connect such a detailed description with the fact that romantic and realistic elements coexist in Gauf's tales - Gauf demystifies the supernatural. The idea of ​​rationality is already contained in the allegorical preface, "Saying", to the first almanac of Gauf's fairy tales, and then it is spoken directly in "The Sheikh of Alexandria" (where the characters came to the decision that stories without the content of supernatural forces can have the same effect on a person, like fairy tales). Such a multi-layered texts gives us the right to assume that the romantic tales were aimed more at an aesthetically and politically sophisticated reader.
In addition to the material East, the German romantic presents the reader with the geographical East, which is in close connection with the Western space. As a result, it seems to us that Hauff initially sought to show the transition from a romantic Eastern space to a more realistic and European space (after all, Germany itself of the Biedermeier era was already on the verge of a realistic movement). So, despite Gauf's obvious appeal to the texts of the Thousand and One Nights, his heroes are still far from the East. Even the East itself becomes Europeanized in the works of the German romanticist, when the scene of action of fairy tale almanacs is gradually transferred from Baghdad and Balsora to Alexandria, and then to Germany altogether. At the story level, there is also a permanent oscillation between East and West through meetings between representatives of two cultures, the movement of characters from East to West (and vice versa), and the multinationality of characters. However, Gauf's East represents a more civilized society, while Western man (with the exception of the French friend Tsalevkos) represents the personification of negative and barbaric qualities. It seems that the narrator also adopts the eastern point of view and exalts it over the western one. while Western man (with the exception of the French friend Tzalevkos) is the personification of negative and barbaric qualities. It seems that the narrator also adopts the eastern point of view and exalts it over the western one. while Western man (with the exception of the French friend Tzalevkos) is the personification of negative and barbaric qualities. It seems that the narrator also adopts the eastern point of view and exalts it over the western one.
Finally, we can conclude that despite all the differences between Tik, Arnim and Gauf, they have one thing in common - they are trying to make different connections between East and West, to understand what they are in relationship and how they relate to each other. It is no coincidence that in their works the East is always in close connection with the Western space: for example, European elements penetrate into the eastern homogeneous space of Tika, creating a single fantasy space; Arnim places Meluk and Isabella in the space of France and Belgium; Gauf's heroes can cross the border between East and West several times, and the space itself from fairy tale to fairy tale, from almanac to almanac, becomes more and more Europeanized. 
In addition to the intertextual East, the German romantic shows the reader something else. In order to meet the needs of the German population after the “gray war days”, as well as to create a cultural bridge between East and West, Gauf introduces numerous oriental attributes into the fabric of his works, creating a sense of comfort with their help. With his fairy tales, Gauf seems to be trying to “compete” with opium and alcohol, convincing the reader that this is a good way to escape from reality. Thus, one of the functions of the eastern space in the fairy tales of the German romantic is a departure, albeit a short-lived one, to a cozy, calm world. Far from being disappointed by the conquests of Germany, the expanse of the East, as it seems to us, was best suited for this purpose. For example, a significant amount of text in fairy tales can be devoted to describing the luxurious clothes of the hero or the process of consuming oriental goods, whether it be exotic sweets or smoking pipes. We can also connect such a detailed description with the fact that romantic and realistic elements coexist in Gauf's tales - Gauf demystifies the supernatural. The idea of ​​rationality is already contained in the allegorical preface, "Saying", to the first almanac of Gauf's fairy tales, and then it is spoken directly in "The Sheikh of Alexandria" (where the characters came to the decision that stories without the content of supernatural forces can have the same effect on a person, like fairy tales). Such a multi-layered texts gives us the right to assume that the romantic tales were aimed more at an aesthetically and politically sophisticated reader. So,
In addition to the material East, the German romantic presents the reader with the geographical East, which is in close connection with the Western space. As a result, it seems to us that Hauff initially sought to show the transition from a romantic Eastern space to a more realistic and European space (after all, Germany itself of the Biedermeier era was already on the verge of a realistic movement). So, despite Gauf's obvious appeal to the texts of the Thousand and One Nights, his heroes are still far from the East. Even the East itself becomes Europeanized in the works of the German romanticist, when the scene of action of fairy tale almanacs is gradually transferred from Baghdad and Balsora to Alexandria, and then to Germany altogether. At the story level, there is also a permanent oscillation between East and West through meetings between representatives of two cultures, the movement of characters from East to West (and vice versa), and the multinationality of characters. However, Gauf's East represents a more civilized society, while Western man (with the exception of the French friend Tsalevkos) represents the personification of negative and barbaric qualities. It seems that the narrator also adopts the eastern point of view and exalts it over the western one. while Western man (with the exception of the French friend Tzalevkos) is the personification of negative and barbaric qualities. It seems that the narrator also adopts the eastern point of view and exalts it over the western one. while Western man (with the exception of the French friend Tzalevkos) is the personification of negative and barbaric qualities. It seems that the narrator also adopts the eastern point of view and exalts it over the western one.
Finally, we can conclude that despite all the differences between Tik, Arnim and Gauf, they have one thing in common - they are trying to make different connections between East and West, to understand what they are in relationship and how they relate to each other. It is no coincidence that in their works the East is always in close connection with the Western space: for example, European elements penetrate into the eastern homogeneous space of Tika, creating a single fantasy space; Arnim places Meluk and Isabella in the space of France and Belgium; Gauf's heroes can cross the border between East and West several times, and the space itself from fairy tale to fairy tale, from almanac to almanac, becomes more and more Europeanized.