Report "games that develop imagination and verbal creativity in preschool children."

Department of Education of the city of Sevastopol

State budgetary educational institution

vocational education

of the city of Sevastopol "Sevastopol Pedagogical

College named after P.K. Menkov "

Department of Preschool Education

Course work

Theme: "Formation of verbal creativity in older children in the process of learning to compose stories

according to the description of nature "

Supervisor

Taranenko Svetlana

Mikhailovna

Teacher

__________________________

signature

"____" ______________ 2017

Group student DO-14-1z

Ivanova Alevtina

Andreevna

___________________________

signature

"____" ______________ 2017

Sevastopol 2017

CONTENT

INTRODUCTION …………………………………………………………………. ..3

Chapter 1. Theoretical foundations of the formation of verbal creativity in preschoolers ………………………………………………………………… ......... 7

1. Development creativity in preschool children in the process of getting to know nature ……………………………………………………………………… 7

2. The role of nature in the development of the creative abilities of older children

preschool age ………………………………………………………… .9

Chapter 2. Development of verbal creativity in older preschoolers ......... .15

1.Features of children's verbal creativity among older preschoolers ………………………………………………………………………… .15

2. The essence and methods of teaching descriptive stories about nature …… 18

Conclusion ………………………………………………………………… ... 24

References ………………………………………………………… ..25

INTRODUCTION

The development of imagination is one of the leading lines mental development preschool child. In addition to the ability to transform images, impressions, which is recognized as the main mechanism for the functioning of imagination, important role language acquisition plays a role in its development. L. S. Vygotsky noted that speech frees the child from his immediate impressions, makes it possible to imagine an object that he did not see, and to think about it.

One of the manifestations of the creative imagination is children's verbal creativity... There are two types of word creation (A.G. Tambovtseva, L.A. Venger, etc.), these are the so-called neoplasms

inflection and word formation (children's neologisms). And the second is

writing is an integral component of artistic and speech activity. V the latter case verbal creativity is understood as the productive speech of children, which arose under the influence of works of art,

impressions from the surrounding life and expressed in the creation of oral

essays - fairy tales, stories, poems, etc. ... Creation of essays implies the ability to modify, transform memory representations and create new images and situations on this basis, determine the sequence of events, establish connections between individual events, "enter" the depicted circumstances, select speech means to build a coherent utterance.

According to V.T. Kudryavtseva, children's word creation is valuable not only for the development of speech, but also for assimilation native language... The scientist assures that children's linguistic experiments are a universal mechanism for "entering" culture.

Questions of the formation of children's verbal creativity were studied by E.I. Tikheeva, E.A. Fleerina, M.M. Konina, L.A. Penievskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkova, A.E. Shibitskaya and a number of other scientists who have developed topics and types of creative storytelling, techniques and training sequence.

According to N. N. Vikhrova, N. N. Sharikova, V. V. Osipova. the peculiarity of creative storytelling is that the child must independently invent the content (plot, imaginary characters), relying on the theme, his past experience and putting it into a coherent narrative. The possibility of developing creative speech activity arises in the senior preschool age, when children have a sufficiently large stock of knowledge about the world around them. They have the opportunity to act according to the plan.

L.S. Vygotsky, K.N. Kornilov, S.L. Rubinstein, A.V. Zaporozhets consider creative imagination as a complex mental process, inextricably linked with the life experience of a child. Creative imagination in preschool childhood has the greatest flexibility and the most easily amenable to pedagogical influences.

The creative storytelling of children is considered as a type of activity that captures the personality of the child as a whole: it requires active work of imagination, thinking, speech, the manifestation of observation, volitional efforts, the participation of positive emotions.It is creative telling that brings the child closer to the level of monologue speech that he will need to move to a new leading activity - study, since it provides great opportunities for the child to independently express his thoughts. Conscious reflection in speech of various connections and relationships between objects and phenomena, plays an important role in the development of verbal - logical thinking, contributes to the activation of knowledge and ideas about the environment. Teaching to compose a descriptive story about nature means not only to awaken his interest in what he is talking about, but also to help the child understand, feel the beauty of the described object or phenomenon and thereby cause him to desire to find the necessary words and expressions to convey this in his speech.

KD Ushinsky also emphasized the role of nature in the development of logical thinking and coherent speech. He considered the logic of nature to be the most useful, accessible and visual for a child. It is the direct observation of the surrounding nature that “... will constitute those initial logical exercises of thought, on which consistency depends, ie. the truth of the word itself, and from which they will then flow naturally logical speech and understanding of grammatical laws ”. The process of cognition of nature in all its diversity contributes to the understanding and use of various grammatical categories in coherent speech, denoting names, actions, qualities and helping to analyze an object and phenomena from all sides.

Currently, the high social significance of the development of verbal creativity in children makes us look differently at the issues of education and training in kindergarten, at the relevance and necessity of drawing up developmental classes for the development of creative abilities in children.

The pedagogical influence on children is becoming increasingly important, that is, the creation of conditions and the use of various methods, techniques and forms of organizing work to develop the creative abilities of preschoolers in the process of getting to know nature.

From this it follows that children should be specially taught to talk about nature:

1. Give them sufficient knowledge to compose a relatively complete and accurate story about any subject or natural phenomenon;

2. To develop the ability of children to formulate their thoughts, imagination, thinking, the manifestation of observation;

The relevance of the topic is associated with the problem of the child's mastering the skills of verbal creativity in the speech of a preschooler. The shortest path to emotional liberation of a child, release of tightness, teaching feeling and artistic imagination is the path through playing, fantasizing, writing and creating a holistic system of teaching verbal creativity

Object of research: verbal creativity of older preschool children in describing nature

Subject of research: the formation of verbal creativity in the process of learning to compose stories to describe nature.

Research objectives:

Features of the development of verbal creativity in older preschool children.

Development of creative abilities in preschoolers in the process of getting to know nature;

The role of nature in the development of creative abilities of children;

To study the ways of developing coherent speech based on familiarization with nature, enrichment and activation of the vocabulary on this problem.

Teaching children to tell about nature.

Teaching techniques to prepare children for writing descriptive stories about nature.

Target term paper:

The study of methods and techniques for teaching children to compose stories about nature.

Chapter 1. Theoretical foundations of the formation of verbal creativity in preschoolers

1. Development of creative abilities in preschool children in the process of getting to know nature.

It is known that teaching children creative storytelling is a gradual and rather complicated process. It proceeds most successfully under the guidance of teachers, parents, who help children to master these skills, both in specially organized classes and in the process of everyday life. For preschoolers at an older age, creative telling about events from the life around them, about relationships with friends, on topics from personal experience, coming up with stories, fairy tales is available.

Children's creative storytelling is seen as an activity that captures the personality of the child as a whole. It requires the active work of imagination, thinking, speech, the manifestation of observation, volitional efforts, the participation of positive emotions. It is creative telling that brings the child closer to the level of monologue speech that he will need to move to a new leading activity - learning, since it presents great opportunities for the child to independently express his thoughts. Conscious reflection in speech of various connections and relationships between objects and phenomena, plays an important role in the development of verbal - logical thinking, contributes to the activation of knowledge and ideas about the environment. Teaching to compose a descriptive story about nature means not only to awaken his interest in what he is talking about, but also to help the child understand, feel the beauty of the described object or phenomenon and thereby cause him to desire to find the necessary words and expressions to convey this in his speech.

The ability to compose creative stories independently, while observing all the necessary standards (literacy, structure, integrity, etc.) is, according to A. M. Leushina, "the highest achievement of speech development of a preschooler." When composing a story, the child's speech should be meaningful, detailed, logical, consistent, coherent, competent, lexically accurate, phonetically clear.

ON. Vetlugina noted thatin his work, "the child discovers something new for himself, and for those around him, something new in himself."

The possibility of developing creative speech activity arises in the senior preschool age, when children have a sufficiently large stock of knowledge about the world around them, which can become the content of verbal creativity. Children get hold of complex forms coherent speech, a dictionary. They have the opportunity to act according to the plan. “Imagination from reproductive, mechanically reproducing reality - turns into creative”, this is explained by the acquired ability of children to operate with their ideas, to generalize, analyze, reason.

L. S. Vygotsky, K. N. Kornilov, S. L. Rubinstein, A. V. Zaporozhets consider creative imagination as a complex mental process, inextricably linked with the life experience of a child. Creative imagination in preschool childhood has the greatest flexibility and the most easily amenable to pedagogical influences.

Verbal creativity is the most difficult type creative activity child. There is an element of creativity in any children's story. Therefore, the term "creative stories" is a conventional name for stories that children come up with themselves. The peculiarities of creative storytelling are that the child must independently invent the content (plot, imaginary characters), relying on the theme and his past experience, and clothe it in the form of a coherent narrative. No less difficult task- accurately, expressively and entertainingly convey your idea. Creative storytelling is somewhat akin to the present. literary creation... The child is required to be able to select individual facts from the available knowledge, add an element of fantasy to them and compose a creative story.

The enrichment and activation of the vocabulary is considered to be another important condition for the successful teaching of creative storytelling. A sufficiently rich and varied vocabulary is the basis for the development of coherent speech, consisting of correctly composed sentences. Children need to replenish and activate the vocabulary at the expense of definition words; words that help describe the experiences, character traits of the characters. Therefore, the process of enriching the experience of children is closely related to the formation of new concepts, a new vocabulary and the ability to use the existing vocabulary. For the development of coherent speech, it is very important to teach how to make sentences of different types. A.N. Gvozdev has repeatedly emphasized this and attached great importance to mastering the syntax of complex sentences, since they "provide exclusively" a variety of opportunities for expressing connections and relationships of thoughts. The transfer of knowledge about nature requires the obligatory use of complex sentences. Thus, observing a winter landscape, children, with the help of a teacher, give various definitions of the qualities and conditions of snow: white, like cotton wool; slightly bluish under the tree; sparkles, shimmers, sparkles, glitters; fluffy, falls in flakes. Then these words are used in children's stories: “It was in winter, in the last month of winter, in February. When last time snow fell - white, fluffy - and everything fell on roofs, on trees, on children, in large white flakes. "

2. The role of nature in the development of creative abilities of older preschool children.

Nature at all times served as content fine arts... N. Ye. Rumyantsev, a well-known Russian teacher, wrote that nature "is eternally alive, renewing, great in its diversity ... is always a living spring of poetic creativity." V. A. Sukhomlinsky wrote: “The world surrounding a child is, first of all, the world of nature with an infinite wealth of phenomena, with inexhaustible beauty. Here in nature, the eternal source of children's mind and creativity. " KD Ushinsky wrote: "The beautiful landscape has such a tremendous educational influence on the development of a young soul, with which it is difficult to compete with the influence of a teacher."
. Nature surrounds the child from an early age, is one of the main means aesthetic education children.The beauty of nature does not leave indifferent even the smallest children.

The variety of the surrounding world, natural objects allows the educator to organize an interesting, useful, cognitive activity children. Aesthetic perception is provided by direct, "live" communication of children with nature. In the course of games, observations, labor, children get acquainted with the properties and qualities of objects and natural phenomena, learn to notice their change and development. They develop curiosity. Observing the beauty of nature - sunrise and sunset, spring drops, flowering gardens and much more - is an unlimited source of artistic impressions. Acting on the emotions of a child with its beauty - perfection of form, varied and (depending on the time of day, year, lighting) changeable color, nature evokes aesthetic feelings. The aesthetic perception of nature evokes in children the feelings of a careful, caring attitude towards plants, animals, the desire to take care of and look after them. This makes it possible for the teacher to develop in pupils logical thinking, voluntary attention, and most importantly, creative abilities. The expansion of ideas about the natural world occurs among preschoolers every day, in direct educational activities, on walks, during observations. For the formation of creative abilities in children, it is necessary to use at the moments of observation a variety of expressions, comparisons, epithets that can be found in poetic works, because pictures of nature have inspired many poets and writers. Also, they help the child to know the beauty, truth, goodness of the works of landscape painters. Colorful images of works landscape painting teach children to fantasize, they have a desire to create something similar by themselves. When acquainting children with nature, it is important to give them the correct ideas about the life of animals, plants, the beauty of their appearance in an interesting, accessible form. Animals attract the attention of children by their habits, mobility, habitat, by what they are associated with humans. It is necessary to show children the diversity of the animal world, allow them to observe and study animals (on the street, in the zoo, at home). Some children have pets at home, and they, of course, draw them with pleasure and talk a lot about them. This always evokes a positive response from them, and also contributes to the refinement of their knowledge about objects of nature and a positive attitude towards it.

Nature is a source of knowledge, and knowledge of various natural phenomena closely related to mastering the art of speech.N.F. Vinogradova argues that nature with all the variety of forms, colors, sounds is the richest source for the development of the preschooler's vocabulary and the child's aesthetic experiences.Children always and everywhere in one form or another come into contact with nature. Green forests and meadows, bright flowers, butterflies, beetles, birds, animals, moving clouds, falling snow flakes, streams. Even puddles after rain - all this attracts the attention of children, makes them happy, provides rich food for their development.In the process of contemplating nature, a child has the opportunity to correctly determine the size of an object, its shape, symmetry, colors, their harmonious combination and contrast of colors, or disharmony, to determine shades of color at different degrees of illumination in different periods of the day, season, etc. But a child can do all this only if there are corresponding names of objects, objects and phenomena in his dictionary, as well as the formation of the corresponding ideas.

KD Ushinsky also emphasized the role of nature in the development of logical thinking and coherent speech. He considered the logic of nature to be the most useful, accessible and visual for a child. It is the direct observation of the surrounding nature that “... will constitute those initial logical exercises of thought, on which consistency depends, ie. the truth of the word itself, and from which logical speech and understanding of grammatical laws will follow by itself ”. The process of cognition of nature in all its diversity contributes to the understanding and use of coherent speech of various grammatical categories, denoting names, actions, qualities and helping to analyze the object and phenomena from all sides.

Nature provides a rich, emotional experience for children.“Nature is not only a great teacher, but also a great educator. The beauty in nature is limitless and inexhaustible. Therefore, nature is a source for creativity. The beauty in nature has been and remains the subject of her artistic development. Therefore, great artists have always been the pioneers of beauty in the world around them. "

Interest in nature also needs to be nurtured. By showing children what and how to observe in animals and plants, drawing their attention to the appearance, movements, habits, the educator forms not only knowledge about nature, but also the attitude of children towards it.

The ability to see nature is the first condition for education through nature. It is achieved only through constant communication with nature. To feel that you are part of the whole all the time, you need to be in a relationship with this whole. That is why the harmony of pedagogical influences requires constant communication with nature.

In direct contact with nature, curiosity develops along with observation.

The child must be taught to see nature. After all, to look does not mean to see. Not everything that is imprinted in the retina of the eyes is perceived, but only that on which attention is focused. We see only when we are aware. Children need to be taught to see. This means not only to show, but also to describe verbally. For example, describe the colors and shades of the sunset sky and dawn, describe the shape of the clouds and their color, describe the starry sky and the moon, show all this. If residents of high floors can see the sky from a window or from a balcony, others will see it when they go out into the courtyard. The sky is extremely varied and always beautiful. To contemplate it daily, throughout life, cannot get bored, just as one cannot get bored of breathing. On the contrary, every day such contemplation, at least for a few minutes, refreshes the soul. You also need to "see" snowfall or rain, or a thunderstorm. There should always be flowers in the house, which the child looks after, observes and rejoices in the beauty of. The cities have trees, boulevards, squares, parks. And here you need to teach children to "see" trees, flowers, shrubs: notice the peculiarities and shades of petals, leaves, observe how the buds swell and open or the leaves begin to turn yellow, how flowers bloom and seeds ripen. It is necessary for the child to choose in the immediate environment the tree that seems to him the most attractive, and to observe its withering and winter sleep. Let him treat his beloved tree as a friendly creature - visit him, notice new shoots, help him.

the main task in the development of creative abilities by means of nature - this is the awakening of an emotional attitude towards her in children. An emotional attitude to nature helps to make a person taller, richer, more attentive. Nature is one of the factors influencing the development and formation of creativity. She is an inexhaustible source of impressions and emotional impact on a person. Nature occupies a significant place in human life, contributes to the formation and development of creative skills.

A large role in the development of the creative abilities of preschoolers by means of nature belongs to the teaching staff of the kindergarten. The most effective sequence of work is as follows:

Direct perception of nature;

Organized observation of nature during walks and excursions.

Observation of the surrounding reality has a profound effect on the all-round development of the child's personality. In the process of observation, the child includes all analyzers: visual - the child sees the size, color of the object under study; auditory - the child hears the noise of the wind, the splash of water in the river, the sound of raindrops, the rustle of leaves, the murmur of a brook - all this is delightful for the child's hearing. The taste allows you to subtly distinguish between the sweet taste of honey and the salty taste of sea water, the taste spring water... Touch is a child's second eyes. Sensing the objects of nature, the child feels all the roughness of the bark of trees, grains of sand, scales of cones. Smells also excite a child's imagination. To develop observation skills in children is the task facing educators.

In the work on the development of creative abilities by means of nature with children of preschool age, the educator must know well the characteristics of this age. Children of this age have a great desire for independence, creativity. They want to see everything, to discover everything themselves. This interest encourages children to vigorous activity... But its direction in relation to nature can be different.

Chapter 2. Development of verbal creativity in preschoolers.

1. Features of children's verbal creativity in older preschoolers.

Verbal creativity is a process associated with the general development of a child. There is a direct relationship between the development of children's speech and their creativity. Creativity itself is inconceivable without a child mastering the wealth of the language in which he speaks and thinks. Of course, we understand this mastery in accordance with the characteristics of preschool age.

The concept of "verbal creativity" can be applied to any case of creativity associated with a word. At the same time, it refers to two, albeit related, but still fundamentally different areas: creativity in speech and creativity in language.

In pedagogical studies devoted to the problem of the formation of verbal creativity, it is proved that creative speech activity is successfully carried out in older preschool age under the influence and as a result of special education, an important condition of which is the choice of a means (L.M. Voroshnina, E.P. Korotkova, N. A. Orlanova, O. N. Somkova, E. I. Tikheeva, O.S. Ushakova, E. A. Flerina and others).

O.S. Ushakova notes that verbal creativity is based on the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and art form... She considers verbal creativity as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions, stories, fairy tales, and poems. "

The verbal creativity of children is expressed in various forms: in the composition of stories, fairy tales, descriptions; in the composition of poems, riddles, fables; in word creation (the creation of new words - new formations).

For the methodology of teaching creative storytelling, an understanding of the peculiarities of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process is of particular importance.

NA Vetlugina noted the legitimacy of the extension of the concept of "creativity" to the activity of a child, delimiting it with the word "childish". She distinguished three stages in the formation of children's artistic creativity.

The first stage is the accumulation of experience. The role of the teacher is to organize life observations that affect children's creativity. The child must be taught a figurative vision of the environment.

The second stage is the process itself children's creativity when an idea arises, there is a search for artistic means. The emergence of an idea in a child disappears if a mindset for a new activity is created (we come up with a story). The presence of an idea encourages children to search for means of its implementation: search for a composition, highlighting the actions of the characters, the choice of words. Great importance here they have creative tasks.

At the third stage, new products appear. The child is interested in its quality, seeks to complete it, experiencing aesthetic pleasure. Therefore, it is necessary to analyze the results of creativity for adults, his interest. Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.

Since the basis of creative storytelling is the process of processing and combining representations that reflect real reality, and the creation on this basis of new images, actions, situations that did not previously have a place in direct perception. The only source of the combinatory activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and variety of ideas, life experience, which provide material for fantasy.

One of the conditions for the success of children in creative activity is the constant enrichment of children's experience with impressions from life.

This job may have different character depending on the specific task: excursions, observing the work of adults, examining paintings, albums, illustrations in books and magazines, reading books. So, before describing nature, systematic observations of seasonal changes in nature and reading literature describing natural phenomena are used.

Reading books, especially cognitive, enriches children with new knowledge and ideas about people's work, about the behavior and actions of children and adults, deepens moral feelings, gives excellent examples of the literary language. Works of oral folklore contain many artistic techniques(allegory, dialogue, repetitions, personifications), attract with a peculiar structure, art form, style and language. All this has an impact on the verbal creativity of children.

Creative storytelling is a productive activity, the end result of which should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell coherently, to master the structure of a coherent statement, to know the composition of the narration and description.

Subject creative stories should be related to the general tasks of upbringing in children correct attitude to the life around, fostering respect for elders, love for the younger, friendship and camaraderie. The topic should be close to the experience of children (so that a visual image arises on the basis of imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or a fairy tale.

Creative stories can be conditionally divided into the following types: stories of a realistic nature; fairy tales; descriptions of nature.

The most difficult task is to create descriptive texts about nature, since it is difficult for a child to express his attitude to nature in a coherent text. To express his experiences related to nature, he needs to own a large number of generalized concepts, to a greater extent be able to synthesize.

In the process of teaching coherent speech, children master the skills of making up stories different types... E.P. Korotkova singles out factual, creative, descriptive and plot stories.
Teaching the mother tongue, in particular teaching creative storytelling, is one of the main tasks of preparing for school. There have been many studies devoted to the formation of coherence, imagery and other qualities of monologue speech - different types of storytelling, including creative. This problem is devoted to the research of OI Solovieva, EI Radina, VA Ezikeeva, EG Baturina, Yu.S. Lyakhovskaya, GA Tumakova, VV Gerbova, etc. research in preschool pedagogy has developed general ideas about the directions of work on the development of creative storytelling in preschoolers.

Creative stories require the child to be able to modify his existing experience, to create from this material relatively new (for the child-storyteller) images and situations. Moreover, creative stories can also rely on either a visual basis (come up with events with the heroes of the picture that go beyond what is depicted; come up with a fairy tale about a toy squirrel and a hare, which the child holds in his hands), or on a verbal basis (come up with a story on the topic proposed orally“How Seryozha helped Natasha”).
Children show great interest in self-composing. At the same time, it is necessary to create certain conditions for the development of creative speech skills of children:
- compilation of various types of creative stories;

V senior group- coming up with a continuation and end to the story, stories by analogy, stories according to the teacher's plan, according to the model;

V preparatory group- stories, fairy tales on a topic suggested by the teacher, story modeling;

Revealing the child's individual abilities for creative speech activity.

One of the important methodological issues of teaching creative storytelling is the question of the choice of plots. A plot can be approved if it makes children want to come up with a story, a fairy tale with a clear compositional structure, with the inclusion of elementary descriptions in them, if they correspond to the child's experience, the level of his speech development, affects moral and aesthetic feelings, activates imagination, deepens interest in speech activity.

2. The essence and method of teaching descriptive stories about nature.

The ability to talk about nature is formed in children gradually. For this, children must be specially taught to talk about nature:

It is necessary to give the child necessary knowledge, which will help to compose a relatively complete and accurate story about any subject or phenomenon of nature;

To develop the ability of children to formulate their thoughts and present their information as logically and consistently as possible.

N.F. Vinogradova offers several types of stories that are taught to children to describe nature. This sequence of storytelling types provides a progressive increase in the complexity of working with children.

1. Plot story on the basis of direct perception or labor in nature ("How we arranged a flower garden", "Who dined in the bird's canteen");

2. Subject and descriptive story based on the generalization of knowledge gained as a result of conversations, reading books, looking at pictures ("How animals live in winter", "What happened to the foxes").

3. A descriptive story based on a comparison of different seasons ("Forest in spring and winter");

4. Descriptive story about the season as a whole "Why I love summer";

5. Descriptive story about a separate subject or phenomenon of nature

("Bouquet of daisies") .

Descriptive stories based on comparisons of different seasons of the year cause the least difficulty in children. Children describe objects and phenomena that they have repeatedly observed on excursions and walks. To compose such a story, you can use landscape paintings. famous artists, for example: I. Shishkin "Morning in pine forest", The teacher can offer the task:" Tell us what would be painted in the picture if the artist wanted to depict the evening. "

A plot story about nature based on direct perception or labor is available to children of the fifth or sixth year of life, since it should reflect specific situations familiar to them. Such a story modeled on a teacher is possible already in the middle group of a kindergarten.

The most difficult of all nature stories is the descriptive story about a particular thing or natural phenomenon. Children in such descriptions often list the signs and properties of the object, and not their attitude to the described object.Composing story stories about nature is much easier for children than composing descriptive ones. Therefore, learning about nature is different from learning about other topics.

Teaching a child to compose a descriptive story about nature means not only to awaken him to what he is talking about, but also to help him understand, feel the beauty of the described object or phenomenon, and thereby cause him to desire the necessary words and expressions to convey in his speech.

Descriptive storytelling is a type of creative storytelling.

To teach children how to compose a descriptive story about nature, it is necessary to develop the expressiveness and imagery of the speech of children, to develop the ability to convey their attitude to what they are talking about.

A kind of impetus to the upbringing of the expressiveness of the speech of children are vivid and diverse impressions of the world around them. Observing pictures of nature together with the teacher, listening to his explanations, necessarily figurative, expressive, children perceive this beauty. She makes them think and then talk. The role of the teacher is very important here.

N. A. Vetlugina noted that in her work "the child discovers something new for himself, and for others - new about himself." ...

The acquisition of figurative speech by children should not be limited to the accumulation of epithets in their vocabulary, and the ability to compose syntactically complex sentences. It presupposes the ability to choose the right, vivid word in the context, to insert homogeneous terms, isolation, comparison into your story. The selection of a figurative word or expression is a prerequisite for the correct and deep characterization of an object or phenomenon. An emotional attitude, noted BM Teplov, is brought up from small things: from elementary “like”, “dislike”, “pleasant”, “unpleasant” to mastering a whole range of aesthetic assessments.

N.A. Vetlugina identified 3 stages for the development of the expressiveness of children's speech:

1. Tasks that give an installation for new ways of action for children: compose, invent, change. At this stage, children act together with the teacher, independently applying only elements of creative actions.

2. Assignments that force children to find new combinations based on old, already known solutions;

3. Tasks, by completing which children themselves plan their activities from beginning to end, choose artistic means.

OS Ushakova suggested using lexical exercises to select epithets, metaphors, comparisons, synonyms and antonyms that help children feel the beauty of verse, compare non-poetic and poetic language, and develop their poetic ear. Also, one of the types of creative tasks is the compilation of stories by children - sketches about nature and natural phenomena.

V.A. Sukhomlinsky called such works "small works on nature." He taught children to feel nature and convey their impressions in speech.

Story - etude is short story on the proposed topic, a kind of verbal sketch. The purpose of these stories is to develop the imagery and accuracy of the language, to develop the ability to characterize an object or phenomenon in several sentences, to find the most expressive words to describe it.

Conventionally stories - sketches are divided into groups:

Story - a sketch, compiled during observation, excursion;

A story is a study about one or several objects of nature, compiled during a conversation;

A story is a study about one or several objects of nature, the compilation of which takes place as an independent lesson.

Composing stories - sketches awakens children's interest in language. They always willingly learn to “invent beautiful stories», Are happy to select figurative expressions, insert them into spoken language.

Purposeful work, in the process of which familiarizing children with nature is used to develop their logical thinking and coherent speech, leads to the fact that the stories of older preschoolers become accurate, clear, sufficiently rich and linguistically diverse, emotional. Children master all kinds of descriptive stories about nature.

As the knowledge of children expands, generalizing words appear in their stories (“rooks are the first spring birds”), participles and participles (“babbling brooks”, “blossoming spring nature"), Bright epithets and comparisons (" dandelion, like the sun, green sky and many, many sun "). All this speaks of the development of the ability to use the means of language creatively enough to express their thoughts and feelings.

The development of the imagery of the language is helped by the child's gravitation to rhymed speech. In this regard, in older groups it is advisable to give tasks more often: "Come up with a riddle", "Let's come up with poems together." So, in the classroom, considering any objects, the teacher makes riddles about them, and then invites the children to come up with riddles themselves.

Such activities develop the creative imagination of children. As KD Ushinsky said, logical thought in the soul of a child merges with a poetic image, the development of the mind goes hand in hand with the development of feeling, logical thought is looking for a poetic expression. The children's interest in a well-aimed, bright word seems to be focused.

With the thoughtful work of the teacher, the intonations of children's speech, their posture during the story, change noticeably. The teacher must teach children, speak expressively, and appeal to all listeners. Along with enumerative and narrative intonations typical for children's speech, intonations of reasoning, joy, admiration, surprise appear. In the process of teaching, the nature of the behavior of children-listeners changes: they are attentive, concentrated, critical. When evaluating the stories of comrades, their requirements for the content of the story, its reliability, and clarity become more complicated (“I thought of everything, it doesn't happen like that,” “You can't understand anything from him, he is in a hurry”). Children make sure that the answer corresponds to the teacher's task (“You were told“ tell ”, and you said one word”).

All this indicates that the learning process has a positive effect not only on the content and form of a children's story, but also on the attitude of children to the story itself: gradually, preschoolers develop a sense of the word and love their native language.

CONCLUSION

Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling. It is known that creative narration is based on the process of processing and combining representations that reflect real reality, and the creation on this basis of new images, actions, situations that previously had no place in direct perception. The only source of the combinatory activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and variety of ideas, life experience, which provide material for fantasy. One of the conditions for the success of children in creative activity is the constant enrichment of children's experience with impressions from life.

Communication with nature contributes to the development of creative speech activity of preschoolers. Learning, observing nature and its phenomena, the child develops observation and curiosity, the vocabulary is replenished. Observing nature, observing pictures about nature together with the teacher, listening to his explanations, obligatory figurative, expressive, children perceive this beauty. Along with this, verbal creativity develops, which is expressed in various forms: the composition of stories, fairy tales, descriptions; composing poems, riddles, fables; word creation (creation of new words - new formations).

There is a direct relationshipbetween the development of children's speech and their creativity. Creativity itself is inconceivable without a child mastering the wealth of the language in which he speaks and thinks. The luggage of knowledge in children must correspond to the peculiarities of preschool age.

The development of creative speech activity occurs in the senior preschool age, when children have a sufficiently large stock of knowledge about the world around them, which can become the content of verbal creativity. But in order for the child to be able to express his thoughts and feelings, it is necessary to constantly enrich and activate the vocabulary.From this we conclude thatverbal creativity arises and develops where there is a purposeful leadership of this activity, where all conditions are created for this activity.

BIBLIOGRAPHY

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2. Borodich A.M. Methodology for the development of speech in children / A.M. Borodich - M .:Education, 1988 .-- 256s.

3. Vinogradova I.F. Mental education of children in the process of acquaintance with nature / I.F. Vinogradov - M .: Education, 1982.-112s.

4. Vetlugina N.A. Artistic creation in kindergarten / Ed. ON. Vetlugina - M .: Education, 1974 .-- 284s.

5. Vetlugina N.A. The main problems of artistic creativity of children // Artistic creativity and the child. / Ed. ON. Vetlugina - M., Education, 1972. - 215p.

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MINISTRY OF EDUCATION OF SCIENCE AND RF

FEDERAL STATE BUDGETARY EDUCATIONAL INSTITUTION OF HIGHER EDUCATION

"BASHKIR STATE UNIVERSITY" (BASHGU)

INSTITUTE OF LIFELONG EDUCATION

FINAL CERTIFICATIONWORK

On the topic:"Formation of verbal creativity in senior preschool children"

Completed:

Retraining course listener

"Pedagogy and psychology

preschool education "

Platonova Anna Yurievna

G... Ufa2016 year

Introduction

ChapterI. Theoretical foundations of the formation of verbal creativityin older preschoolers in the psychological and pedagogical literature

1.1 The concept of creativity, children's verbal creativity and the study of the problems of its formation by psychologists and teachers

1.2 The concept of coherent speech, its main forms and characteristics of coherent statements

1.3 Fairy tale genre - as a factor in the development of children's verbal creativity

Chapter I Conclusions

ChapterII. Formation of verbal creativity in older preschool children in the process of composing fairy tales

2.1 Studying the level of development of verbal creativity in children 5-6 years old

2.2 Formation of verbal creativity in the process of writing fairy tales by children

Chapter II Conclusions

Conclusion

Bibliography

INTRODUCTION

The relevance of research

Preschool age is a unique period when the foundations of all future human development are laid. That is why the main goal of education is comprehensive harmonious development personality.

Personal development is closely related to the formation of creativity, knowledge of the surrounding world and mastery of the native language.

The child learns to think creatively, improves his thinking, learning to create.

Currently, society constantly feels the need for people who are able to think outside the box, actively act, find original solutions any life problems. All of these qualities are characteristic of creative individuals.

Creativity itself is a complex type of activity and there are different tendencies towards the nature of the emergence of children's creativity.

In some cases, creativity is seen as a result of the child's inner emerging forces. The development of creativity comes down to a spontaneous moment. With this view, there is no need to teach children to draw, sculpt, they themselves strive for self-expression, freedom, creating compositions from strokes, spots. Supporters of this trend do not interfere in the process of the formation of the child's artistic abilities.

In other cases, the source of children's creativity is sought in life itself, in the appropriate pedagogical conditions, which are a guarantee of active influence on the development of children's creativity. Supporters of this view believe that abilities are formed gradually, in the process of vigorous activity of children, taking into account the individual characteristics of the child. coherent speech verbal tale creativity preschooler

Verbal creativity is part of the general development of the creative abilities of preschoolers in various types of artistic activity:

Its formation is based on the perception of works of fiction, oral folk art in the unity of content and artistic form;

Acquaintance with different genres of literary works, their specific features, the understanding of which is aggravated in the visual and theatrical activities. Which contributes to the development of creative imagination.

In preschool age, creativity is manifested in various types of artistic activity (visual, musical, motor, play and speech).

A lot of scientifically grounded works and methods of honored teachers and psychologists are devoted to this: N.A. Vetlugina, L.S. Vygotsky, A.V. Zaporozhets, N.S. Karpinskaya, N.P. Sakulina, S.L. Rubinstein and others. Development problem artistic word were devoted to the work of teachers - practitioners O.S. Ushakova, F.A. Sokhina, O. M. Dyachenko and others.

Many researchers (N.S. Karpinskaya, L.A. Pen'evskaya, R.I. Zhukovskaya, O.S.Ushakova, L.Ya. Pankratova, A.E. activities, as well as looking for ways to form the creative abilities of the child. These studies have shown that the development of artistic creativity is closely related to the development of cognitive and personal characteristics of a preschooler. A folk tale plays a huge role in the development of creativity, which enriches the world of the child's emotional experiences, helps him feel the artistic image and convey it in his works.

A fairy tale for a child is not just a fiction, a fantasy, it is a special reality. Creating fairy tales is one of the most interesting types of verbal creativity for children.

The development of verbal creativity is a multicomplex, multifaceted process and depends, first of all, on the general speech development of children; the higher his level, the more freely the child manifests himself in the compositions of fairy tales and stories.

Object of study: the process of forming creativity in children 5-6 years old.

Subject of study: verbal creativity of children 5-6 years old on the material of fairy tales.

Purpose of the study: study of the development of verbal creativity in children 5-6 years old, the formation of a sustainable interest in creativity in children.

Research objectives

1. Selection and study of psychological and pedagogical literature on the problem of the development of verbal creativity in preschool children.

2. Study of the peculiarities of the content and artistic form of Russian folk tales and their perception by children.

Methodological framework research is the theory of the development of imagination and children's verbal creativity, formulated in the works of L.S. Vygotsky, N.A. Vetlugina, O. M. Dyachenko, N.P. Sakulina, as well as the works of psychologists and teachers on the problem of the development of coherent speech - O.S. Ushakova, S.L. Rubinstein, F.A. Sokhina, A.V. Zaporozhets.

Research methods:

§ analysis of literature in the field of psychology and pedagogy,

§ pedagogical experiment,

§ conversations, observation of children,

§ analysis of products of children's creativity.

Theoretical and practical significance of the work

The conducted research can be used when working on the development of coherent speech in children, as well as in the process of forming a literate oral speech children and education of interest in independent verbal creativity.

Organization of research

The final certification work consists of an introduction, two chapters, a conclusion, a list of references.

CHAPTERI. THEORETICAL BASIS OF FORMATION OF VERBAL CREATIVITY IN SENIOR PRESCHOOLERS IN PSYCHOLOGICAL AND PEDAGOGICAL LITERATURE

1.1 The concept of creativity, children's verbal creativity and the study of the problems of its formation by psychologists and teachers

An adult, raising a child, must subtly and tactfully support the child's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the teaching of creativity, since creativity itself can develop only in individual individuals.

Questions of creativity, its development and manifestation in humans worried minds outstanding people over the years of the formation of human history.

Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person's own activity, and therefore it is so important, according to Aristotle, from an early age to teach children creativity, the ability to observe and understand people, their experiences. Proving that the imprint of the creator's personality lies on his works, Aristotle not only gave examples of how different artists interpret the same subjects in different ways, but also proved the need to develop independence, activity and individuality in raising children, because otherwise, outstanding scientists and creators will never emerge from them.

The nature of creativity is investigated by philosophers, psychologists and educators who study certain aspects of creative thinking and personality, based on the specifics of their sciences.

So, in the philosophical dictionary the following definition of creativity is given: "Creativity is a process of human activity that creates qualitatively new material and spiritual values." In philosophy, creativity is the ability of a person to create from the material delivered by reality (based on cognition of the laws of the objective world), which arose in labor. new reality that satisfies a variety of social needs. In the process of creativity, all the spiritual forces of a person take part, including imagination, as well as the skill acquired in training and practice, which is necessary for the implementation of a creative plan.

In pedagogical science, creativity is defined as "an activity aimed at creating a socially significant product that affects the transformation of the environment."

The meaning of the child's creativity is limited to the creation of something new for himself, and this determines the meaning of creativity for the formation of the personality.

Describing the creativity of children, the famous didact I. Ya. Lerner identified the following features of creative activity:

1- independent transfer of previously acquired knowledge to a new situation;

2 - vision of the new function of the subject (object);

3 - vision of the problem in a standard situation;

4 - a vision of the structure of the object;

5 - ability to alternative solutions;

6 - a combination of previously known methods of activity into a new one.

I. Ya. Lerner argues that creativity can be taught, but this teaching is special, it does not resemble how knowledge and skills are taught. At the same time, creativity is impossible without mastering certain knowledge and mastering skills and abilities.

By creativity, in the opinion of teachers, one should understand the very process of creating images of a fairy tale, story, game, etc., as well as methods, ways of solving problems (visual, play, verbal, musical).

The psychology of creativity explores the process, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:

1 - as a mental process of creating a new one,

2 - as a set of personality traits that ensure its inclusion in this process.

Imagination is a necessary element of creativity and human creative activity. It is expressed in the mood of the image of the products of labor, ensures the creation of a program of behavior in cases where the problem situation is characterized by uncertainty.

Imagination, or fantasy, belongs to the highest cognitive processes in which the specific human character of activity is clearly revealed. Imagination allows you to imagine the result of a person's labor even before it begins.

Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections.

Characterizing imagination from the side of its mechanisms, it is necessary to emphasize that its essence is the process of transforming ideas, creating new images based on existing ones.

The synthesis of representations in the processes of imagination is carried out in various forms:

§ agglutination - "gluing" of various parts, qualities;

§ hyperbolization - an increase or decrease in an object and a change in the number of parts of an object or their displacement;

§ sharpening, emphasizing any signs;

§ schematization - the representations from which the image of fantasy is constructed merge, differences are smoothed out, and similarities come to the fore;

§ typification - the allocation of the essential, repeated in homogeneous facts and their embodiment in a specific image.

In psychology, it is customary to distinguish between active and passive imagination. In the case when fantasy creates images that are not embodied in life, outlines programs of behavior that are not implemented and often cannot be realized, passive imagination manifests itself. It can be intentional or unintentional. Images of fantasy, deliberately evoked, but not associated with the will aimed at translating them into reality, are called dreams. Unintentional imagination manifests itself with a weakening of the activity of consciousness, the second signal system, with temporary inactivity of a person, in a half-asleep state, in a state of passion, in a dream (dream), with pathological disorders of consciousness (hallucinations), etc.

Active imagination can be creative and re-creating. Imagination, which is based on the creation of images corresponding to the description, is called re-creating. Creative imagination involves the independent creation of new images that are realized in original and valuable products of activity. The creative imagination that has arisen in labor remains an integral part of technical, artistic and any other creativity, taking the form of active and purposeful operation of visual representations in search of ways to satisfy needs.

In order to understand the psychological mechanism of imagination and the associated creative activity, it is necessary to find out the connection that exists between fantasy and reality in human behavior. L.S. Vygotsky in his work "Imagination and Creativity in Childhood" identifies 4 forms of connection between imagination and reality.

The first form is that every creation of the imagination is always built from elements taken from reality and contained in the previous experience of a person. Imagination can create more and more degrees of combination, combining first the primary elements of reality, then combining again the images of fantasy (mermaid, goblin, etc.). Here the following pattern can be distinguished: "the creative activity of the imagination is directly dependent on the richness and diversity of the previous human experience, because this experience is the material from which the constructions of fantasy are created."

The second form is a more complex connection between the finished product of fantasy and some complex reality. This form of communication becomes possible only thanks to someone else's or social experience.

The third form is emotional connection. Fantasy images provide an internal language for a person's feelings "This feeling selects elements of reality and combines them into a connection that is conditioned from the inside by our mood, and not from the outside, by the logic of these images themselves." However, not only does the senses influence the imagination, but the imagination also affects the feeling. This influence can be called "the law of the emotional reality of the imagination."

The fourth form is that the construction of a fantasy can be something essentially new, which has not been in human experience and does not correspond to any really existing object. Taking material embodiment, this "crystallized" imagination becomes reality.

L.S. Vygotsky also describes in detail the psychological mechanism of creative imagination. This mechanism includes the selection of individual elements of the subject, their change, the combination of changed elements into new holistic images, the systematization of these images and their "crystallization" in the subject embodiment.

O. M. Dyachenko identifies two types or two main directions in the development of imagination. Conditionally they can be called "affective" and "cognitive" imagination. Analysis of affective imagination can be found in the works of Z. Freud and his followers, where it is indicated that imagination and creativity are the expression of unconscious conflicts that are directly related to the development of innate tendencies.

The cognitive imagination was explored by J. Piaget. In his research, the imagination was associated with the development of the symbolic function in the child and was considered as a special form of representational thinking, which allows one to anticipate changes in reality.

O. M. Dyachenko characterizes these types of imagination and the stages of their development throughout preschool childhood.

Stage I - 2.5-3 years. There is a division of imagination into cognitive (the child, with the help of dolls, plays out some familiar actions and their possible options) and affective (the child plays out his experience).

Stage II - 4-5 years. The child learns social norms, rules and patterns of activity. Imagination includes a planning process that can be called stepwise. This leads, in turn, to the possibility of directed verbal creativity, when the child composes a fairy tale, stringing events one after another. Cognitive imagination is associated with the rapid development of role-playing, drawing, and construction. But at the same time, without special guidance, it is mainly of a reproductive nature.

Stage III - 6-7 years. The child freely operates with the basic patterns of behavior and activity.

Active imagination is also aimed at getting rid of the received traumatic influences through their repeated variation in play, drawing and other creative activities. Cognitive imagination is manifested in the child's desire to seek techniques for transmitting processed impressions.

It should also be emphasized that the imagination, which has exclusively essential for the implementation and organization of activities, it is itself formed in various types of activity and fades out when the child stops acting. Throughout preschool childhood, there is a constant transformation of the child's imagination from an activity that needs external support (primarily on toys), into an independent internal activity that allows for verbal (composition of fairy tales, poems, stories) and artistic (drawings, crafts) creativity. The child's imagination develops in connection with the acquisition of speech, and therefore in the process of communication with adults. Speech allows children to imagine objects that they have never seen before.

Fantasy is an important condition for the normal development of a child's personality, it is necessary for the free identification of his creative possibilities. K.I. Chukovsky, in his book "From Two to Five", spoke about the children's fantasy in its verbal manifestation. He very accurately noticed the age (from two to five) when the child's creativity is especially sparkling. Lack of confidence in the laws existing in the field of language "directs" the child to cognition, mastering, modeling of existing connections and relationships in the surrounding world of sounds, colors, things and people.

K.I. Chukovsky defended the right of children to a fairy tale, proved the child's ability to realistically understand the figurativeness of a fairy tale.

Fantasy is a necessary element of creative activity in art and literature. The most important feature imagination participating in the creative activity of an artist or writer - his significant emotionality. An image, a situation, an unexpected plot twist that arises in the mind of a writer turns out to be passed through a kind of “enriching device” that serves as the emotional sphere of a creative personality.

In any activity, two stages are absolutely necessary: ​​the setting of the task (goal) and the solution of the task - the implementation of the goal. In artistic creative activity, the concept by its very essence is the formulation of a creative task. Literary intentions, despite all their differences, are put in other activities. It is about the task of writing a work of fiction. This task necessarily includes the desire to discover the aesthetic aspect of reality and to influence people through their work.

It should be noted that children are completely sincerely included in literary works and live in this imaginary world. The child's verbal creativity opens up richer opportunities for understanding the world and conveying his impressions, limiting the child's actions by any technical devices.

Questions of the formation of children's verbal creativity were studied by E.I. Tikheeva, E.A. Fleerina, M.M. Konina, L.A. Penievskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who have developed topics and types of creative storytelling, techniques and training sequence. The creative storytelling of children is considered as a type of activity that captures the personality of the child as a whole: it requires active work of imagination, thinking, speech, the manifestation of observation, volitional efforts, the participation of positive emotions.

Verbal creativity is the most difficult type of creative activity of a child. There is an element of creativity in any children's story. Therefore, the term "creative stories" is a conventional name for stories that children come up with themselves. The peculiarities of creative storytelling are that the child must independently invent the content (plot, imaginary characters), relying on the theme and his past experience, and clothe it in the form of a coherent narrative. It also requires the ability to come up with a plot, the course of an event, a climax and a denouement. An equally difficult task is to convey your idea accurately, expressively and entertainingly. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from the available knowledge, add an element of fantasy to them and compose a creative story.

At the heart of verbal creativity, notes O.S. Ushakov, the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) lies in the unity of content and artistic form. Verbally, she considers creativity as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, and poems. The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.

The verbal creativity of children is expressed in various forms: in the composition of stories, fairy tales, descriptions; in the composition of poems, riddles, fables; in word creation (the creation of new words - new formations).

For the methodology of teaching creative storytelling, an understanding of the peculiarities of the formation of artistic, in particular verbal creativity and the role of the teacher in this process is of particular importance. ON. Vetlugina noted the legitimacy of the extension of the concept of "creativity" to the activities of a child, delimiting it with the word "childish". She distinguished three stages in the formation of children's artistic creativity.

The first stage is the accumulation of experience. The role of the teacher is to organize life observations that affect children's creativity. The child must be taught a figurative vision of the environment (perception takes on an aesthetic coloration). Art plays a special role in enriching perception. Works of art help the child to feel more sharply the beauty in life, contribute to the birth artistic images in his work.

The second stage is the actual process of children's creativity, when an idea arises, there is a search for artistic means. The process of children's creativity is not very developed in time. The emergence of an idea in a child is successful if an attitude is created for a new activity (we come up with a story). The presence of an idea encourages children to search for means of its implementation: search for a composition, highlighting the actions of heroes, choosing words, epithets. Creative assignments are of great importance here.

At the third stage, new products appear. The child is interested in its quality, seeks to complete it, experiencing aesthetic pleasure. Therefore, it is necessary to analyze the results of creativity for adults, his interest. Analysis is also needed for the formation of artistic taste.

Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.

1. One of the conditions for the success of children in creative activity is the constant enrichment of children's experience with impressions of life. This work can be of a different nature depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books.

Reading books, especially of a cognitive nature, enriches children with new knowledge and ideas about people's work, about the behavior and actions of children and adults, aggravates moral feelings, and gives excellent examples of the literary language. Oral works contain many artistic techniques (allegory, dialogue, repetitions, personifications), attract with a peculiar structure, artistic form, style and language. All this has an impact on the verbal creativity of children.

2. Another important condition for the successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary. Children need to replenish and activate the vocabulary at the expense of definition words; words that help describe the experiences, character traits of the characters. Therefore, the process of enriching the experience of children is closely related to the formation of new concepts, a new vocabulary and the ability to use the existing vocabulary.

3. Creative story is a productive type of activity, its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell coherently, to master the structure of a coherent statement, to know the composition of the narration and description.

Children learn these skills at the previous age stages, reproducing literary texts, composing a description of toys and paintings, and inventing stories based on them. Stories about one toy, inventing the end and beginning to the episode depicted in the picture are especially close to verbal creativity.

4. One more condition is the correct understanding by children of the task “to invent”, ie. to create something new, to tell about something that actually did not exist, or the child himself did not see it, but “invented” it (although in the experience of others there could be a similar fact).

The theme of creative stories should be connected with the general tasks of educating children in the correct attitude to the life around them, fostering respect for elders, love for younger ones, friendship and camaraderie. The topic should be close to the experience of children (so that a visual image arises on the basis of imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or a fairy tale.

In the method of speech development, there is no strict classification of creative stories, but the following types can be conventionally distinguished: stories of a realistic nature; fairy tales; descriptions of nature. In a number of works, the composition of stories is distinguished by analogy with the literary image (two options: replacing heroes with preserving the plot; changing the plot while preserving the heroes). Most often, children create contaminated texts, since it is difficult for them to give a description to give a description without including an action in it, and the description is combined with a plot action.

The techniques for teaching creative storytelling depend on the skill of the children, the learning objectives and the type of story.

In the older group, as a preparatory stage, you can use the simplest technique of telling the children together with the teacher on the issues. A topic is proposed, questions are asked to which children, as they are posed, come up with an answer. At the end, a story is composed of the best answers. In essence, the educator "composes" with the children.

In the preparatory school for the group, the tasks of teaching creative storytelling become more complicated (the ability to clearly build a storyline, use communication means, be aware of the structural organization of the text). All kinds of creative stories are used, different teaching methods with a gradual complication.

It is considered the easiest to think of the continuation and completion of the story. The teacher gives a sample that contains the plot and determines the path of the development of the plot. The beginning of the story should interest the children, acquaint them with the main character and his character, with the setting in which the action takes place.

Auxiliary questions, according to L.A. Penievskaya, are one of the methods of active leadership in creative storytelling, making it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.

A question plan helps the children focus on the consistency and completeness of the story. For the plan, it is advisable to use 3-4 questions, a larger number of them leads to excessive detailing of actions and descriptions. What can hinder the independence of a child's plan. During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story.

A more complex technique is storytelling according to the plot proposed by the teacher. (The teacher set an educational task for the children. He motivated it, suggested a theme, plot, named the main characters. Children must come up with content, form it verbally in the form of a narrative, arrange it in a certain sequence).

Coming up with a story on an independently developed topic is the most difficult task. The use of this technique is possible if children have elementary knowledge about the structure of the narrative and the means of intra-text communication, as well as the ability to title their story. The teacher advises what a story can be thought of, invites the child to come up with a name for the future story and make a plan.

Learning how to come up with fairy tales begins with the introduction of elements of fantasy into realistic plots.

At first, it is better to limit fairy tales to stories about animals: "What happened in the forest with a hedgehog", "The Adventures of a Wolf", "The Wolf and the Hare". It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions... But a certain level of knowledge is needed about the habits of animals, their appearance... Therefore, learning the ability to come up with fairy tales about animals is accompanied by looking at toys, paintings, watching filmstrips.

Reading and telling children small stories, fairy tales helps to pay attention to the form and structure of the work, to emphasize an interesting fact revealed in it. This has a positive effect on the quality of children's stories and fairy tales.

The development of children's verbal creativity under the influence of a Russian folk tale occurs in stages. At the first stage, in the speech activity of preschoolers, the reserve is activated famous fairy tales with the aim of assimilating their content, images and plots. At the second stage, under the guidance of the educator, the analysis of the scheme for constructing a fairy tale narration, plot development (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writing. The teacher turns to the techniques of joint creativity: he chooses a theme, names the characters - the heroes of the future fairy tale, advises the plan, begins the fairy tale, helps with questions, prompts the development of the plot. At the third stage, independent development fabulous storytelling: children are invited to come up with a fairy tale based on ready-made topics, plot, characters; independently choose a theme, plot, characters.

In the book Gianni Rodari "The Grammar of Fantasy". An Introduction to the Art of Making Stories talks about some of the ways to make stories for children and how to help children compose for themselves. The recommendations of the author of the book are also used in kindergartens in Russia.

The most common technique is the game "What if ...", where children are asked to find a solution to a certain situation.

"Old games" - games of notes with questions and answers. It begins with a series of questions that outline in advance a certain scheme, the end of the story.

Sample questions:

§ Who was that?

§ Where is it?

§ What did you do?

§ What did you say?

§ What did the people say?

§ How did it end?

The children's answers are read aloud as a continuous story.

"Technique of nonsense" - the composition of absurdities, fables, "twisted" in two lines.

The Creation of Limerick is a variant of organized and institutionalized nonsense. The structure of limerick can be as follows:

1. Choosing a hero.

2. Its characteristics.

3, 4. Realization of the predicate (performance of an action).

5. The final epithet characterizing the hero.

The use of these techniques will successfully affect the development of verbal creativity of preschoolers.

1.2 The concept of coherent speech, its main forms and characteristics of coherent utterances

Speech is one of the central, most important mental functions. Psychologists and psycholinguistics consider speech as a process of generating and perceiving an utterance, as a type of specifically human activity that provides communication.

The development of speech in preschool childhood (mastering the native language) is a process that is multifaceted in nature. So, this process is organically connected with mental development, since the developed thinking of a person is speech, linguistic - verbal-logical thinking. The interrelation of speech development, language acquisition and mental, cognitive development testifies to the enormous importance of language for the development of thinking.

At the same time, the relationship between speech and intellectual development of a child must be considered in the opposite direction - from intelligence to language. This approach can be conventionally designated as an analysis of the linguistic function of intelligence, that is, clarification of the role of intelligence, mental activity in language acquisition.

E.I. Tikheeva in her work "The Development of Children's Speech" asserts that "sensations and perceptions are the first stage in cognizing the world, developing speech relies on the basis of sensory representations. The organs of external senses are an instrument of cognition and, in the development of a child's speech, they play a major role. Correct perception of objects is the main mental work of a child. Sensory and speech development the child takes place in close unity, and the work on the development of speech should not be divorced from the work on increasing the organs of sense and perception. "

Speech restructures all mental processes: perception, thinking, memory, feelings, desires, and so on. Mastering speech allows the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Speech has such a magical effect due to the fact that it frees the child from situational awareness and pressure. subject environment... Unlike any other signal or any vocalization, a word is a sign that always carries a universal human meaning, including not just a specific object, but a thought, image, concept. By mastering the language, the child masters the sign system, which becomes a powerful tool for thinking, self-control and, above all, communication.

The close connection between the speech and intellectual development of children is especially clearly evident in the formation of coherent speech, that is, speech that is meaningful, logical, and consistent.

Coherent speech is understood as a detailed presentation of a certain content, which is carried out logically, consistently and accurately, grammatically correct and figuratively.

In the methodology, the term "coherent speech" is used in several meanings:

1. The process, the activity of the speaker;

2. The product, the result of this activity, the text, the statement;

3. The title of the section of the work on the development of speech.

Additionally, the terms "utterance", "text" are used synonymously.

Utterance is a speech activity, and the result of this activity: a certain speech work, more than a sentence. Its core is meaning (T.A. Ladyzhenskaya, M.R. Lvov).

“Text” is used in the methodology as a synonym for the word “statement” in its second meaning (“the result of speech activity”), more often in relation to a written statement (text of an article, text of presentation, text analysis, and others). Two interrelated but non-identical aspects of the text can be noted - coherence and integrity.

Coherent speech is inseparable from the world of thoughts, coherence of speech is coherence of thoughts. Coherent speech reflects the logic of the child's thinking, his ability to comprehend the perceived and correctly express it. By the way the child constructs his statements, one can judge the level of his speech development.

Coherent speech is a single semantic structural whole, including interconnected and thematically united, complete segments.

In his article "On the tasks of speech development" F.A. Sokhin wrote: “To relate something coherently, you need to clearly imagine the object of the story (subject, events), be able to analyze, select the main properties and qualities, establish different relationship(causal, temporary) between objects and phenomena. " In addition, it is necessary to be able to select the words most suitable for expressing a given thought, build simple and complex sentences, use a variety of means to connect individual sentences and parts of an utterance.

The main function of coherent speech is communicative. It is carried out in two main forms - dialogue and monologue. Each of these forms has its own characteristics that determine the nature of the methodology for their formation.

Dialogue speech is a particularly striking manifestation communicative function language. The main feature of the dialogue is the alternation of speaking of one interlocutor with listening and subsequent speaking of another person. Oral dialogical speech takes place in a specific situation and is accompanied by gestures, facial expressions, intonation. Speech can be incomplete, abbreviated, sometimes fragmentary. The dialogue is characterized by: colloquial vocabulary and phraseology multiplicity, reticence, abruptness; simple and complex incoherent sentences; short preliminary consideration. The coherence of the dialogue is provided by two interlocutors. Dialogue speech is marked by involuntariness, reactivity.

Monologue speech is a coherent, logically consistent statement that flows for a relatively long time, not designed for an immediate response from the audience. It has an incomparably more complex structure, it expresses the thought of one person, which is unknown to the audience. The statement contains a more complete formulation of information, it is more detailed. In a monologue, internal preparation is necessary, a longer preliminary reflection on the statement, concentration of thought on the main thing. A monologue is characterized by: literary vocabulary, the development of a statement, completeness, logical completeness, syntactic formulation, the coherence of the monologue is provided by one speaker.

These two forms also differ in motives. Monologue speech is stimulated by internal motives, and the speaker himself chooses its content and linguistic means. Dialogue speech is stimulated not only by internal, but also by external motives.

Monologue speech is a more complex, arbitrary, more organized type of speech, therefore it requires special speech education.

Coherent speech can be situational and contextual. Situational speech is associated with a specific visual situation and does not fully reflect the content of thought in speech forms. It is understandable only when taking into account the situation that is being described. The speaker makes extensive use of gestures, facial expressions, demonstrative pronouns.

In contextual speech, as opposed to situational, its content is clear from the context itself. The complexity of contextual speech is that it requires the construction of an utterance without taking into account a specific situation, relying only on linguistic means.

In most cases, situational speech has the character of a conversation, and contextual speech has the character of a monologue.

Connected speech performs the most important social functions: it helps the child to establish connections with the people around him, determines and regulates the norms of behavior in society, which is a decisive condition for the development of the child's personality.

The features of the development of coherent speech were studied by L.S. Vygotsky, S.L. Rubinstein, A.M. Leushina, F.A. Sokhin and other scientists in the field of psychology.

In mastering speech, L.S. Vygotsky, the child goes from part to whole: from a word to a combination of two or three words, then to a simple phrase, and even later to complex sentences. The final stage is coherent speech, consisting of a number of detailed sentences.

The study by A.M. Leushina, which reveals the patterns of the development of coherent speech of children from the moment of its inception. She showed that the development of speech goes from mastering situational speech to mastering contextual, then the process of developing these forms of speech proceeds in parallel.

The formation of coherent speech, the change in its functions depends on the content of the conditions, the forms of communication between the child and others.

The formation of coherent speech in young children and the factors of its development were studied by E.I. Tikheeva, G.L. Rozengarp-Pupko, N.M. Aksarina.

The method of conducting a conversation with children is described in the works of E.I. Tikheeva and E.A. Flerina, distinguishes classifications of conversations, from the target setting and the method of conducting.

The role of the generalizing conversation and the methodology for conducting it are reflected in the fundamental research of E.I. Radina, where the principles of selecting the content for conversations, the structure of the conversation and methods of activating the speech and thinking of children are revealed.

Questions of the formation of a monologic form of coherent speech were developed by V.V. Gerbovoy, O.S. Ushakova, V.I. Yashina, E.A. Smirnova, N.O. Smolnikova.

They give a characteristic of coherent statements. Coherent utterances of children can be characterized from different points of view: by function, source of utterance, leading mental process on which the child relies.

Depending on the function, there are four types of monologues: description, narration, reasoning and contamination. In preschool age, predominantly contaminated statements are observed, in which elements of all types can be used with a predominance of one of them.

Description is a statistic characteristic of an item. In the description, a general thesis is highlighted that calls the object, then there is a characteristic of essential and secondary signs, quality, actions. The description ends with a final phrase expressing an evaluative attitude towards the subject. When describing, lexical and syntactic means aimed at defining an object and its features are important. Therefore, epithets, metaphors, comparisons are used. The described intonation is characteristic for the description.

In kindergarten, children describe pictures, toys, objects, interiors, natural phenomena, people.

A story is a coherent story about some event. It is based on a plot that unfolds in time. Storytelling serves to tell the story of developing actions. The material in it is presented on the basis of those semantic connections that are suggested life situation... The sequence of events is determined by their actual course. In narrative monologues, means are used that convey the development of an action: temporal verb forms; vocabulary denoting time, place, mode of action; words for communication of sentences.

Preschool children compose stories on a visual basis and without reliance on visualization.

Reasoning is the logical presentation of material in the form of evidence. The reasoning contains an explanation of a fact, a certain point of view is argued, the cause-and-effect relationships of the relationship are revealed. In the reasoning, two main parts are required: first - what is explained or proved; the second is the explanation or proof itself. In its structure, a thesis (usually an initial sentence), a proof of the thesis put forward and a conclusion-conclusion are distinguished. In the reasoning, various ways of expressing cause-and-effect relationships are used, subordinate clauses with the conjunction "because", verb phrases, nouns in the genitive case with the prepositions "from, with, because of", introductory words, the particle "after all" and non-union communication, as well as words: here, for example.

Preschool children learn the most basic conversational style reasoning.

In kindergarten, children are taught two main types of monologues - independent storytelling and retelling. They differ from each other in that, in the first case, the child selects the content for the utterance and forms it independently, and in the second, the material for the utterance is a work of art.

Retelling is meaningful reproduction literary image in oral speech. When retelling, the child transmits the ready-made author's content and borrows ready-made speech forms.

A story is an independent detailed presentation of a certain content by a child. In the methodology, the term “story” is traditionally used to denote monologues of various types independently created by children (description, narration, reasoning, contamination).

Depending on the source of the statement, monologues can be distinguished:

1. For toys and objects,

2. According to the picture,

3. From experience,

4. Creative stories.

Telling about toys and pictures. Toys, objects, and pictures are excellent materials for teaching different types of utterances, as they suggest the content of the speech. When describing, children rely on the perception of visual material, isolate the characteristic features of objects and phenomena. Often, the description also includes a story about performed or possible actions with a toy or object, about how these things appeared in the child. In narrative monologues, children convey a certain plot, prompted by a picture, ready-made play situation created with the help of toys, and also come up with a story based on a picture, going beyond the one shown in the figure, or based on toys (one or more). In telling about toys and pictures, children learn to select subject-logical content for descriptions and narratives, acquire skills, build a composition, link parts into a single text, and selectively use linguistic means.

Experiential storytelling is based on ideas gained through observation, as well as different types of activities, and reflects the experiences and feelings of the child. In monologues, the skills of storytelling, description, reasoning are formed from collective and individual experience.

Creative stories are stories of fictional events. In the methodology, creative storytelling is understood as an activity, the result of which is children inventing fairy tales, realistic stories with independently created images, situations, logically constructed, clothed in a certain verbal form. A realistic story reflects objects and phenomena existing in nature, although in personal experience the child they did not meet. Fairy tales most often define themselves as a reflection of the artistic experience accumulated by children in the perception and retelling of folk and literary tales. Children can also compose fables. Essays not only of a narrative, but also of a descriptive nature can be creative.

Depending on the leading mental process on which the "childish" storytelling is based, the storytelling can be:

1. Telling about visual, tactile or auditory perception is descriptive and leads the child to reasoning. Children talk about those objects or phenomena that they perceive at the moment. The content of the texts created by children is determined by the objects and phenomena themselves, and visually perceived signs and qualities facilitate the choice of appropriate linguistic means. This type of storytelling includes the description of toys, paintings, natural objects, natural phenomena. In perceptual storytelling, it ensures the unity of sensory, mental and speech development.

2. Storytelling from memory is a story from experience, about an experience that was previously perceived. This is a more complex activity than perceptually speaking. It relies on arbitrary memory.

3. Imagination storytelling is the creative storytelling of children. From a psychological point of view, the foundation of creative stories is the creative imagination. In new combinations, children use representations stored in memory, previously assimilated knowledge.

Any coherent monological statement is characterized by a number of features:

1) Integrity (the unity of the theme, the correspondence of all micro-themes to the main idea);

2) Structural design (beginning, middle, end);

3) Connectivity (logical connections between sentences and parts of a monologue);

4) The volume of the statement;

5) Fluency (no long pauses in the storytelling process).

To achieve the coherence of speech, a number of skills are required, namely: the ability to understand and comprehend the topic, to determine its boundaries; select the necessary material; arrange the material in the desired sequence; use the means of language in accordance with literary norms and tasks of expression; build speech deliberately and arbitrarily.

1.3 Fabulousgenre -as a factor in the development of verbal creativity in children

Verbal creativity is a two-pronged process: the accumulation of impressions in the process of cognizing reality and their creative processing in verbal form.

One of the factors determining the development of children's verbal creativity is the influence of folklore.

For centuries, Bashkir folklore has played and plays a great educational role in the life of the peoples of Bashkortostan. IN AND. Baimurzina notes that folk pedagogy is fully reflected in oral folk art.

K.Sh. Akhiyarova believes that the people's pedagogical culture of the Bashkir people consists of elements of folk art: fairy tales, legends, myths, legends.

The concept of "children's folklore" entered science relatively recently. Children's folklore developed directly with folk pedagogy. With children's folklore, every nation prepares its children from the day of birth for working life.

First, "children's folklore" has an educational influence on the personality of a child, forms artistic abilities, mental properties necessary for such a complex process as verbal creativity, creates the prerequisites for its emergence; secondly, it has a direct impact on the child's verbal activity, develops the education of speech, determines the structure and style, nourishes it with its material, gives images, develops coherent speech, equips the way of constructing a story. Studying the properties of folklore, one should dwell on a fairy tale, that form of an epic genre, to which a children's composition most closely approaches.

A fairy tale is a very popular genre of oral folk art, an epic, prosaic, plot genre. The old name of the tale "fable" indicates the narrative nature of the genre. The subject of the narration in it is unusual, amazing, and often mysterious and strange events, while the actions are adventurous in nature.

...

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One of the most accessible and effective means of developing creative speech skills in preschoolers is folklore, in particular, a folk tale.

For the development of a coherent monologue speech, it is necessary to form ideas about the composition of the story, the ability to connect sentences and parts of an utterance, to use a variety of lexical and stylistic means... However, the concept of "verbal creativity" is much broader than "creative storytelling", as it includes active writing, inventing fairy tales, stories, poems, riddles, scenarios, not only in the classroom, but also in free independent activities.

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DEVELOPMENT OF WORD CREATIVITY OF PRESCHOOLERS

E.Yu. Galochkina - educator

(ANO DO "Planet of childhood" Lada "DS No. 187" Solnyshko ", city of Togliatti)

One of the priority areas of pedagogical science at the present stage is the study of the child's creative activity, the search for ways of its formation. Research by psychologists (L.S.Vygotsky, B.M. Teplov) and teachers (N.A. Vetlugina, N.P. Sakulin, E.A. Fleerina, Dybina O.V., Tanina L.V.) prove that creative activity meets the needs and capabilities of the child, accompanied by the activity of his emotional and intellectual forces.

In studies devoted to the problem of verbal creativity, folklore, in particular, a folk tale (M.M. Konina, L.M. Pankratova, O.I. Solovyova, etc. .). The authors note the obviousness of the influence of individual elements of the tale on the composition of children. At the same time, the studies note that the conformity of the specifics folk remedies fairy tales to the peculiarities of children's perception does not yet provide a positive impact of folklore on the development of children's verbal creativity.Children's difficulties are connected both with content (imitativeness, inexpressiveness of compositions, and consistency of content) and with the formal side of the statement (violation of the structure of the narrative, limited use of stylistic means). The psychological prerequisites that determine the possibilities of children in the field of speech creativity, on the one hand, and the difficulties arising in the construction of a fairy tale story, on the other, are a problem that arises when organizing work with children to develop the verbal creativity of preschoolers.

In domestic pedagogy, verbal creativity is considered as a two-pronged process: the accumulation of impressions in the course of cognition of reality and their creative processing in verbal form (N.A. Vetlugina, O.S. Ushakova).

In a special study on teaching creative storytelling, carried out by N.A. Orlanova, the following conditions for teaching creative storytelling are distinguished:

Enriching the children's experience;

The richness of the vocabulary and the ability to use it;

Mastering the ability to tell coherently, knowledge of the structure of the story: beginning, culmination, end;

Correct understanding by children of the task "to think up".

The dynamics of the development of children's creativity under the influence of learning is traced in her research by S.K. Alekseeva. She justifies the following training sequence:

Stage 1: Teach children to subordinate their experience to a certain concept, draw the attention of children to the compositional linguistic features of stories (enrichment of the child's life and literary experience, familiarization with linguistic means of expression, analysis of the compositional structure of the work);

Stage 2: Determine the correct balance between the child's desire to show himself in creative activity and the ability to find suitable means for expressing his idea. To draw the attention of children to the assessment of stories (inventing the beginning and ending of a story, outline the setting in which the action takes place, an independent artistic addition to stories);

Stage 3: To put the child in front of the need to act more consciously, to use more independently the conditional methods of verbal creativity (independent selection of plot, compositional and linguistic means, a deeper analysis of the proposed works, familiarization with new linguistic means);

Stage 4: Improve children's skills to combine and

transform the received ideas and perceptions, outline

action in the sequence of its development of a logical connection.

For the development of the creative activity of children, it is necessary to create special pedagogical conditions:

a) selection of literary works, taking into account the possibility of a specific embodiment of their content;

b) carrying out special creative tasks that develop the theatrical abilities of children (combining movements with expressiveness of speech, facial expressions and gestures);

c) the active participation of children in the drafting and preparation of the performances.

At preschool age, a child is able not only to perceive works of art, to express his attitude towards characters, but also to comprehend their behavior, generalize, analyze, experiment, and on this basis create something new for himself and his peers. In this case, artistic imagination plays a special role.

KD Ushinsky has repeatedly emphasized the importance of the development of speech and abilities by means of art, starting from preschool age. It is not enough if the children understand the content of the work, it is necessary to feel its expressive features of expression and figurative words. In the future, they will perceive literary works more deeply, learn to subtly distinguish the semantic shades of a word and transfer them into their work.

Of course, for the development of a coherent monologue speech, it is necessary to form ideas about the composition of the story, the ability to connect sentences and parts of an utterance, to use a variety of lexical and stylistic means. However, the concept of "verbal creativity" is much broader than "creative storytelling", as it includes active writing, inventing fairy tales, stories, poems, riddles, scenarios, not only in the classroom, but also in free independent

activities.

An example of a literary text from the standpoint of the structural and semantic unity of content and form is a folk fairy tale.

Numerous researchers of the folk tale (V.A.Bakhtina, N.M. Vedernikova, R.M. Volkov, N.V. Novikov, A.I. Nikiforov, E.V. Pomerantseva, etc.) as a hallmark of a fairy tale call it a magical and fantastic beginning. The unity of the magic and the fantastic makes the fairy tale especially attractive to the children's audience. A peculiar combination of real and fictional makes up the content of a fairy tale.

The style of a fairy tale is a single system of interrelated techniques and means. Traditional linguistic forms are the subject of study of folklore phraseology. The typical means of the poetics of a fairy tale include, first of all, stable verbal formulas, traditional formulas, poetic cliches, which are an important element in the construction of fairy tales of this type (sayings, beginnings, endings) and perform various functions in the narrative.

Another stylistic device of the tale is the use permanent epithets serving as decoration of the work. The likelihood of using this or that combination in an epic or song epic is associated with the peculiarities of the reflection of the external world in various genres. According to O.A. Davydova, 38.7% of certain combinations of a fairy tale are not actually fairy tale, that is, they are recorded in other folklore genres"Wild head", "hot arrow".

The traditional poetic means of a fairy tale also include: the use of synonyms "with that and the wedding was played in an amicable way," and paired combinations of words expressing the same concept "let's go meet with bread and salt, maybe we'll make peace", the use of antonyms "not much , not a little time passed ”or strengthening“ willy-nilly, I had to agree ”, the use of general linguistic proverbs and sayings“ the pike is fast, but do not eat a ruff from the tail ”, the use of various comparisons“ Ivan sat on a wolf. The wolf ran like an arrow "; lexical and syntactic twists and turns forming parallel syntactic constructions "On the pillar it is written:" To go to the right - there is no good, but to the left to go - there will be no living. "

M.M. Konina distinguishes two types of children's compositions: creative processing of well-known fairy tales and creative fairy tales proper and notes the presence in them characteristic features fairy tales (typical plots, wonderful transformations and elements of heroism, wonderful objects, fairy-tale rituals).

In her opinion, "the development of children's verbal creativity proceeds along the line of a qualitative increase under the influence of the quantitative accumulation of new fairy-tale images."

The folk tale traditionally belongs to the circle of "children's reading" and is one of the genres most beloved by children. The fairy tale has a huge impact on the moral and aesthetic development preschooler. Colorful, romantic portrayal of the fairy-tale world, idealization of goodies, a must a happy ending, fascination, combined with instructiveness - all this causes a vivid aesthetic reaction in children, contributes to the development of aesthetic feelings. The fairy tale embodies the high ideals of the people, their wisdom. The dynamics of a fairy tale requires intellectual tension, comparing facts and events while assimilating the semantic line of the plot, i.e. stimulates cognitive activity.

To identify the peculiarities of the perception of a fairy tale by children of older preschool age and to determine the level of verbal creativity to coherent speech of preschoolers, we used the methodology of O.S. Ushakova, highlighting the criteria and indicators.

Criteria

1.Features of perception of a fairy tale

Name of essential features

Determining the content of the tale

Highlighting structural parts of the text

Preservation of linguistic means of expression

2.Features of verbal creativity

Ability to subordinate the storyline common theme

The use of techniques for revealing images of characters and features of the plot of a fairy tale

Ability to use different types of sentences

The ability to formulate a statement according to the laws of the composition of a fairy tale

Using expressiveness

3.Determining the development of coherent speech

Ability to determine the topic of the statement and correctly reproduce its content

Ability to use different types of communication between sentences

Using different types of sentences.

First task. In order to determine the peculiarities of the perception of a fairy tale in the unity of its content and artistic form, the fairy tale "Sister Alyonushka and brother Ivanushka" was proposed.

Second task. To identify the level of verbal creativity, the situation "Continue the tale" was proposed.

Third task. Determination of the level of development of coherent speech was carried out on the example of the fairy tale "Geese-Swans".

To enhance the motivation of the statement, various speech situations were used ("Conversation about a fairy tale", "A fairy tale on the phone", "Compose a fairy tale"). The choice of fabulous material was determined by the requirements of the speech development methodology for the selection works of art with the principles of pedagogy and aesthetics.

The incorrect answers of the children consisted in not distinguishing between a fairy tale and a story.

The diagnostic results showed that children from the seventh year of life lack a clear understanding of the genre features of the fairy tale, which, in our opinion, should be reflected in the children's compositions.

The children's understanding of the content of a fairy tale was determined through the identification of the ability to recognize the topic of a given statement. The survey did not reveal a single case of a high level of understanding of the content that requires the child to have elementary skills in analyzing the work. Based on the diagnostic results,levels of perception of folk tales by children.

Level I (high).Determine the genre of the tale. Its essential features are called. Generally define the content of the tale. See the boundaries of the structural parts of the text. They strive to preserve linguistic means of expression.

Level II (intermediate).The genre of a fairy tale is correctly defined, but in the order of argumentation, both essential and formal features of it are put forward. Determine the theme of the story. They often find it difficult to isolate the main parts of the composition. Use additional language tools.

Level III (low).Difficulty in determining the genre of the work and in identifying the distinctive features of the tale. Do not understand the content of the work. They do not see the boundaries between the plot, the development of actions and the denouement of a fairy tale. The means of expressiveness of the tale are not distinguished.

A necessary condition for the verbal creativity of preschoolers is the formation of coherent speech skills, therefore, the goal of task 2 was to determine the level of development of coherent speech when reproducing the content of a fairy tale.

Criteria for analyzing retellings children have become traditional indicators in the method of speech development:

1. Understanding the topic
2. The volume and grammar of the utterance
3. The vocabulary of the utterance
4. Means of communication
5. Structural organization of each part
6. Fluency and independence of presentation.

The data obtained made it possible to determine the followinglevels of coherent speech of preschoolers.

I (high). Generally define the topic of the statement and correctly reproduce its content. They use different types of sentences, no grammatical errors. They use their exact word substitutions, a variety of ways of communication between sentences. Formulate the statement accurately. They retell the text on their own without pauses.

II (middle). Determine the topic of the statement. Allow minor deviations from the text. Complex sentences are used to a limited extent, single grammatical errors are possible. Refer to individual means of linguistic expression. Communication methods do not differ in variety. In case of difficulty, they use a small number of pauses and need additional questions.

III (low). Do not define the topic of the statement. Events are schematically conveyed without using means of expression. Make grammatical mistakes. When transferring content, the compositional integrity is violated. They do not know how to retell the text on their own (they pause, repeat, need hints).

The children were offered the task: "Imagine that you are a storyteller and come up with a fairy tale with miracles and magic." No instructions for completing the assignments were given. The children's compositions were recorded and considered according to a number of indicators aimed at assessing both the content and the artistic form of the composition.

The second group of indicators was made up of some generally acceptedcriteria for creativity:

Fluency is the ability to generate more ideas expressed in verbal formulas or pictures.

Flexibility is the ability to come up with a variety of ideas, move from one aspect of a problem to another, and use a variety of problem-solving strategies.

Originality is the ability to come up with an idea.

Authenticity is the correspondence of the emotional reaction to the needs, values ​​and interests of the subject.

The results obtained in the course of the assignment can serve as a basis for determininglevels of verbal creativitysenior preschoolers.

I (high). Subordinate the storyline to a common theme. They originally use in the composition the techniques of revealing the characters' images and the peculiarities of the plot of a fairy tale. They turn to traditional figurative and expressive means of a fairy tale.

II (middle). Try to stick to the chosen topic, inaccurate selection of the title. They use individual elements of a fairy tale in compositions with an independent plot and simple content. Difficulty in the structural design of the narrative (one of the parts of the composition is missing).

III (low). Basically, they adhere to the topic, but find it difficult to disclose it, the name is absent. They schematically convey the events of the narrative or retell a well-known fairy tale without change.

The analysis of the results obtained showed a low level of development of children's verbal creativity and made it possible to determine the ways of further work.

We have developed and tested a system of classes and games with the inclusion of a fairy tale, created situations for game improvisations and involving children in the preparation of attributes, performances, exhibitions of children's creativity, which contributed to a significant increase in the level of verbal creativity of older preschoolers.

Verbal creativity of preschoolers The study of verbal creativity, the creative activity of a child, the search for ways of its formation is one of the priority directions of modern pedagogical science in the XXI century.

creativity is an activity as a result of which a person creates something new, original, showing imagination, realizing his plan, independently finding the means for its implementation. ... highlighted two main indicators of creativity: 1. it must be of social value and 2. give completely new products. According to the definition of psychologists,

Does children's creativity correspond to these indicators? The answer to this question is still controversial among researchers of this problem.

The huge role of creativity is determined by the fact that it opens up new values ​​for the child of knowledge, transformation, experiences that enrich his world, contribute to the manifestation of the creative qualities of the individual.

The verbal creativity of preschoolers is the activity of children that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems (O.S. Ushakova, A.E.Shibitskaya, M.V. Fadeeva, etc. .).

In pedagogical studies devoted to the problem of the formation of verbal creativity, it is proved that creative speech activity is successfully carried out in older preschool age under the influence and as a result of special education, an important condition of which is the choice of a means (E.P. Korotkova, E.I. . S. Ushakova, E. A. Flerina and others)

One of the most accessible and pedagogically effective means of developing creative speech skills in children is called folklore, a fairy tale (L. M. Pankratova, V. A. Sukhomlinsky, A. E. Shibitskaya).

There are 2 points of view on the process of children's creativity 1. creativity is the result of the child's internal self-generated forces and an adult should not interfere in his creative process, as this leads to a lack of individual expression of the personality. This is how a child copies an adult.

2. Others recognize the intuitiveness and originality of children's artistic creativity, but consider it necessary to have a reasonable influence of the teacher. They recognize the need to create appropriate conditions, the assimilation of artistic experience by children, and the teaching of techniques for creative work.

At stage 1, the role of the teacher is to organize life observations. To teach a figurative vision of the environment, that is, a perception that has an aesthetic coloration. It is important for children to realize that some phenomena can be changed and transformed.

Stage 2 - the actual process of children's creativity: the emergence of an idea, the search for artistic means. The role of the teacher is to create a joyful atmosphere full of interesting experiences and to ensure the inner need for self-expression in creativity. Particular attention should be paid to the child's mastering of the methods of sensory examination of objects. Help children master the simplest artistic means.

Stage 3 is the creation of new products. The child begins to be interested in the quality of the products of his creativity and experiences aesthetic pleasure, seeking to make them complete. But the experiences of preschoolers will be even fuller if he is convinced that his work is interesting not only to him, but also to those around him. Therefore, the analysis of children's products carried out by the teacher is so important.

Verbal creativity of preschoolers can be manifested in the following forms: - word creation (in the narrow sense); - writing poems; - composing your own stories and fairy tales; - creative retellings literary texts; - inventing riddles and fables.

signs of creative storytelling: - enthusiasm, preoccupation with activities; - the ability to modify, transform, combine existing representations and create new images and situations on their basis; - the ability to provide an event in the sequence of its development, to establish the relationship between individual events; - the use of appropriate language tools in order to create an image; - independence in the search for images and plot development; - variability, that is, the ability to come up with several versions of essays on one topic.

When teaching storytelling, different types of creative compositions are used: - inventing the continuation and completion of the story, the beginning of which is reported by the educator; - inventing a story (fairy tale) according to the teacher's plan; - inventing a story on a topic suggested by the teacher (without a plan); - inventing a story (fairy tale) on an independently chosen topic; - inventing stories (fairy tales) based on a literary model.

Methods of teaching: - joint preparation of a story with the teacher; - questions of the educator (there should be few of them); - plan for the story; - repetition of the story plan; - drawing up a plan by children; - analysis and assessment of stories.

Development of imagination and verbal creativity in older preschool children

MBDOU "Child Development Center - Kindergarten No. 178"

the city of Cheboksary, Chuvash Republic

Verbal creativity is the most difficult type of creative activity of a child. The possibility of developing creative speech activity arises in the senior preschool age, when children have a sufficiently large store of knowledge about the world around them, children master complex forms of coherent speech, a vocabulary is developed, they have the opportunity to act according to a plan. Imagination from previously reproductive, mechanically reproducing reality turns into creative.

In older preschool age, the emotional and expressive function of speech is significantly enriched and complicated. The child learns the meaning of words expressing an emotional state, emotional attitude to objects and phenomena, learns the meaning of words associated with emotional experiences, understands the meaning of words denoting socially significant characteristics of a person. At this age, the assimilation of words by the child occurs with a deeper and more distinct difference in signs, objects and phenomena.

One of the manifestations of creative imagination is children's verbal creativity. There are two types of word creation.

Firstly, these are the so-called new formations in inflection and word formation (children's neologisms). Secondly, this writing is an integral component of artistic and speech activity.

We all know that children love to compose fairy tales, stories, poems, to fantasize, there is a gravitation towards "obvious absurdities", "shape-shifters". In “shifters” and fables, the child, through his imagination, “breaks” the connections between objects and phenomena, their constant features, “moves away” from them, and then connects them into new combinations, “enter” the circumstances depicted, select speech means to build a coherent statement. Thus, stereotypically formed associations are "shaken", thinking and imagination are activated. In a word, verbal creativity is understood as the productive activity of children, which arose under the influence of works of art and impressions of the surrounding life and is expressed in the creation of oral compositions - fairy tales, stories, poems, fables, rhymes, etc.

With the help of verbal creativity, the child experiments with words and sentences, tries to change something, to think of something - in a word, to create. He is interested in this activity, as it allows him to realize more fully his capabilities and replenish his luggage with something new. Verbal creativity enriches and develops thought, makes it more logical and imaginative. The feeling of joy and satisfaction from what has been achieved, emotional tension make the creative process itself attractive. Children's word-creation is the most difficult type of creative activity of a child.

According to many scientists, the verbal creativity of older preschoolers can be developed taking into account the following factors:

One of the factors influencing the development of verbal creativity is the enrichment of children's experience with impressions from life in the process of purposeful observation of the surrounding reality. Observation of the work of adults, natural phenomena, forms can be different: watching movies, viewing pictures, albums, illustrations in books and magazines, etc. (In the process of observing nature, we note the aesthetic side, highlight the beauty natural world, we mark the paints. It will be good if in parallel we will acquaint you with how the authors describe nature in their works, what expressions they use, words).

An important factor is the enrichment of literary experience, reading various books, especially of a cognitive nature, which enrich children with new knowledge and ideas about people's work, about the behavior and actions of children and adults, this deepens moral feelings, gives excellent examples of the literary language. Works of oral folk art contain many artistic techniques (allegory, dialogue, repetitions, personifications), attract with a peculiar structure, artistic form, style and language. All this has an impact on the verbal creativity of children.

Another important condition for the successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary at the expense of definition words;

words that help describe the experiences, character traits of the characters.

For example, observing a winter landscape, children, with the help of a teacher, give various definitions of the qualities and conditions of snow: white, like cotton wool; slightly bluish subtree; sparkles, shimmers, sparkles, glitters; fluffy, falls in flakes.

Then these words are used in children's stories ("It was in winter, in the last month of winter, in February. When the last time it snowed - white, fluffy - and everything fell on roofs, trees, on children, white large flakes").

Another condition is the correct understanding by children of the task "to invent", that is. to create something new, to tell about something that actually did not exist, or the child himself did not see it, but “invented” it (although in the experience of others there could be a similar fact). The topic should be close to the experience of children (so that a visual image arises on the basis of imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or a fairy tale.

The development of poetic ear, the ability to distinguish between genres, understanding their characteristics, the ability to feel the components of an artistic form and to be aware of their functional connection with the content.

To develop verbal creativity, it is effective to use techniques that stimulate creativity, imagination and interest in children:

Inventing the end of a fairy tale begun by the teacher, its beginning or middle,

· Essay using a subject-schematic model, a picture (this is a little more complicated, because the child must act on a certain algorithm).

· Essay on the topic using key words-mnemonic tables.

· Creative storytelling based on a literary model - with the replacement of heroes, a place of action, or with inventing a new plot with the same characters and others.

Usage didactic games on the development of fantasy, imagination ("Funny rhymes." Pick up a rhyme Candle - ... stove; pipes - ... lips; racket - ... pipette; boots - pies, etc. "Bring an object to life." qualities of living beings, namely: the ability to move, think, feel, breathe, grow, rejoice, reproduce, joke, smile.

What kind of living creature would you turn a balloon into?

What are your shoes thinking?

What is the furniture thinking?

· “Collage from fairy tales”. Any heroes of fairy tales (Vasilisa the Beautiful, Baba Yaga, Serpent Gorynych and Boy-with-finger) are selected for independent composition of a fairy tale (you can use any magic tool in a fairy tale that leads questions to combine fragmentary episodes into a single composition.)

· Compose a fairy tale about an unusual creature. (A butterfly that had transparent wings, but wanted to have colorful wings, like her girlfriends).

· The use of proverbs, sayings (Until recently, it was believed that it was difficult for preschoolers to understand the figurative meaning of proverbs and sayings. However, studies have shown the inconsistency of this thesis. In order to help children understand the figurative meaning of small folklore, a fairy tale was selected where moral education was revealed with the help of an appropriate saying. For example, to the fairy tale “Teremok” “Rukavichka” a saying was chosen: “In cramped quarters, but not in offense”, to the fairy tale “Zayushkin's hut” the saying “Don't have a hundred rubles, but have a hundred friends”).

Thus, the development of verbal creativity is a complex and non-independent process that appears in direct connection with the development mental processes, requiring active work of imagination, thinking, speech, the manifestation of observation, volitional efforts, the participation of positive emotions.

People say: "There is no consideration without imagination."

Albert Einstein considered the ability to imagine above much knowledge, because he believed that discoveries cannot be made without imagination. A well-developed, bold, guided imagination is an invaluable property of original out-of-the-box thinking.

Children subconsciously learn to think - in the game. This should be used and developed imagination and fantasy from early childhood. Let the children "reinvent their own bicycles." Those who did not invent bicycles in childhood will not be able to invent anything at all. It should be fun to fantasize! Remember that play is always immeasurably more productive if we use it to put the child in pleasant situations that allow him to perform heroic deeds and, listening to a fairy tale, see your future as fulfilling and promising. Then, enjoying the game, the child will quickly master the ability to fantasize, and then the ability to imagine, and then to think rationally.

Verbal creativity is an effective means of developing a creative personality.