Artistic perception of fiction of preschoolers. Formation of cognitive interests of preschoolers in the process of perception of fiction and folklore

04.03.2020

Read also

The very first musical instruments

Folk proverbs and sayings for children

Conan Doyle biography Conan Doyle biography brief

Daniel Defoe short biography

Viktor Dragoonsky - biography, photos In which city was Viktor Dragoonsky born

Introduction

Conclusion

Annex 1

Introduction

One of the main causes of problems in modern society is the low level of culture of its members. An important component of the general culture is the culture of behavior. The norms of behavior determine what is generally accepted and acceptable in the actions of a member of society, and what is not. Uniform and generally accepted rules ensure a high level of relationships and communication in society.

The culture of behavior is an important part of universal human culture, morality, morality. Therefore, it is so important to teach a child to distinguish between good and evil everywhere and in everything to respect others and treat them as he would like to be treated, to bring up a sense of justice in the child. By instilling in the child the skills of cultural behavior, we contribute to the development of society. Research by V.I. Loginova, M.A. Samorukova, L. F Ostrovskoy, S.V. Peterina, L.M. Gurovich show that one of the most effective means of educating a culture of behavior in older preschool children is fiction. Fiction affects the feelings and mind of a child, develops his sensitivity, emotionality, consciousness and self-awareness, forms a worldview, motivates behavior.

In psychology, the perception of fiction is considered as an active volitional process, which involves not passive contemplation, but an activity that is embodied in internal assistance, empathy with the heroes, in the imaginary transfer of "events" to oneself, in mental action, as a result of which the effect of personal presence, personal participation. E.A. Fleerina called a characteristic feature of this perception the unity of the "feeling" and "thinking".

In poetic images, fiction reveals and explains to the child the life of society and nature, the world of human feelings and relationships. She enriches emotions, fosters the imagination, gives the child wonderful examples of the Russian literary language.

Fiction evokes interest in the personality and inner world of the hero. Having learned to empathize with the heroes of the works, children begin to notice the mood of the people around them. Humane feelings awaken in children - the ability to show participation, kindness, protest against injustice. This is the basis on which adherence to principles, honesty, and citizenship is brought up. The child's feelings develop in the process of mastering the language of those works with which the teacher introduces him.

The artistic word helps to understand the beauty of sounding native speech, it teaches him the aesthetic perception of the environment and at the same time forms his ethical (moral) ideas. According to V.A. Sukhomlinsky, reading books is a path along which a skillful, intelligent, thinking teacher finds a way to a child's heart.

The educational function of literature is carried out in a special way inherent only in art - by the power of the influence of an artistic image. According to A.V. Zaporozhets, the aesthetic perception of reality is a complex mental activity that combines both intellectual and emotional-volitional motives. Teaching the perception of a work of art in psychology and pedagogy is viewed as an active volitional process with an imaginary transfer of events to oneself, "mental" action with the effect of personal participation.

The relevance of the research topic is due to the fact that fiction is a powerful effective means of mental, moral and aesthetic education of children, which has a huge impact on the development and enrichment of their inner world.

fiction preschool perception

Purpose of the research: to reveal the peculiarities of children's perception of fiction.

The object of the research is the perception of preschool children.

The subject of the research is the peculiarities of the perception of fiction by preschool children.

The hypothesis of the study was the assumption that the perception of fiction can influence the culture of children's behavior in the selection of works, taking into account the content of the work and the age-related psychological characteristics of preschoolers.

Research objectives:

To select and study scientific psychological and pedagogical literature on the problem under consideration.

Analyze the main characteristics of children's perception and the peculiarities of the perception of works of art by preschool children.

Conduct an experimental study of the characteristics of the perception of fiction by preschool children.

Research methods: theoretical analysis of psychological, pedagogical and special literature; methods of observation and comparison, quantitative and qualitative processing of the collected materials.

The methodological basis of the study was the works of

L.S. Vygotsky, S.L. Rubinstein, B.M. Teplova, A.V. Zaporozhets, O.I. Nikiforova, E.A. Flerina, N.S. Karpinskaya, L.M. Gurovich and other scientists.

Practical significance: the results obtained can be used in the work of a practical psychologist, educators and parents of children in solving problems of forming a preschooler's personality.

Base of research: MBDOU "Center for Child Development Kindergarten No. 1" Stream "Mr. Anapa.

Structure of the work: the work consists of an introduction, two chapters, a conclusion, a bibliography from 22 sources.

Chapter 1. Dynamics of perception during preschool childhood

1.1 Perception of preschool children

Perception is an integral reflection of objects, phenomena, situations and events in their sensually accessible temporal and spatial connections and relationships; the process of forming - through active actions - a subjective image of an integral object that directly affects the analyzers. Determined by the objectivity of the world of phenomena. It arises from the direct effect of physical stimuli on the receptor surfaces of the sense organs. Together with the processes of sensation, it provides direct sensory orientation in the external world. Being a necessary stage of cognition, it is always to some extent connected with thinking, memory, attention.

Elementary forms of perception begin to develop very early, in the first months of a child's life, as he forms conditioned reflexes to complex stimuli. The differentiation of complex stimuli in children in the first years of life is still very imperfect and differs significantly from the differentiation that occurs at an older age. This is due to the fact that in children, the processes of arousal prevail over inhibition. At the same time, there is a great instability of both processes, their wide irradiation and, as a consequence, the inaccuracy and inconstancy of differentiation. Children of preschool and primary school age are characterized by a low level of detail in perceptions and their high emotional saturation. A small child first of all distinguishes shiny and moving objects, unusual sounds and smells, i.e. everything that causes his emotional and orientational reactions. Due to the lack of experience, he is still unable to distinguish the main and essential features of objects from the secondary ones. The conditioned reflex connections necessary for this arise only as one acts with objects in the process of playing and practicing.

The direct connection of perceptions with actions is a characteristic feature and a necessary condition for the development of perception in children. Seeing a new object, the child reaches for it, picks it up and, manipulating with it, gradually highlights its individual properties and sides. Hence the enormous importance of the child's actions with objects for the formation of a correct and more and more detailed perception of them. Perception of the spatial properties of objects presents great difficulties for children. The connection of visual, kinesthetic<#"center">1.2 Perception of fiction by preschool children

The perception of fiction is viewed as an active volitional process that involves not passive contemplation, but activity that is embodied in internal assistance, empathy with the heroes, in the imaginary transfer of "events" to oneself, in mental action, resulting in the effect of personal presence, personal participation.

The perception of fiction by children of preschool age is not limited to a passive statement of certain aspects of reality, even if very important and essential. The child enters into the depicted circumstances, mentally takes part in the actions of the heroes, experiences their joys and sorrows. This kind of activity greatly expands the sphere of the child's spiritual life, is important for his mental and moral development. Listening to works of art, along with creative games, is of paramount importance for the formation of this new type of internal mental activity, without which no creative activity is possible. A clear plot, a dramatized depiction of events help the child enter the circle of imaginary circumstances and mentally cooperate with the heroes of the work.

At one time S.Ya. Marshak wrote in Big Literature for Little Children: “If the book has a clear unfinished plot, if the author is not an indifferent recorder of events, but a supporter of some of his heroes and an opponent of others, if the book has a rhythmic movement, and not a dry, rational sequence, if the conclusion from the book is not a free application, but a natural consequence of the whole course of facts, and in addition to all this, the book can be played out like a play, or turned into an endless epic, coming up with new and new sequels to it, this means that the book is written in real children's language ".

L.S. Slavina showed that with appropriate pedagogical work, already in a toddler - a preschooler, one can arouse interest in the fate of a narrative hero, make a child follow the course of events and experience new feelings for him. In a preschooler, one can observe only the rudiments of such assistance and empathy for the heroes of a work of art. The perception of the work takes on more complex forms in the preschooler. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts with him, fights against his enemies. The activities carried out in this case, especially at the beginning of preschool age, are psychologically very close to play. But if in play the child really acts in imaginary circumstances, then here both actions and circumstances are imaginary.

During preschool age, the development of an attitude towards a work of art goes from the child's direct naive participation in the events depicted to more complex forms of aesthetic perception, which, for a correct assessment of the phenomenon, require the ability to take a position outside them, looking at them as if from the outside.

So, the preschooler is not self-centered in the perception of a work of art. Gradually, he learns to take the position of a hero, mentally assist him, rejoice at his successes and be upset over his failures. The formation of this internal activity in preschool age allows the child not only to understand phenomena that he does not directly perceive, but also to relate from the outside to events in which he did not take a direct part, which is decisive for subsequent mental development.

1.3 Features of the perception of fairy tales by preschool children

Speaking about the influence of various types of oral folk art on human life in general, one cannot fail to note their special role that they play in childhood. It is especially necessary to say about the influence of the fairy tale.

To understand the complex and influential role of fairy tales in the aesthetic development of children, it is necessary to understand the peculiarity of children's worldview, which we can characterize as children's mythologism, which brings children closer to primitive man and artists. For children, for a primitive man, for a real artist, all nature is alive, full of inner rich life - and this feeling of life in nature does not, of course, have anything far-fetched, theoretical, but is directly intuition, lively, convincing education. This feeling of life in nature is more and more in need of intellectual design - and fairy tales meet this need of the child. There is also another root of fairy tales - this is the work of children's fantasy: being an organ of the emotional sphere, fantasy seeks images in order to express children's feelings in them, that is, through the study of children's fantasies, we can penetrate into the closed world of children's feelings.

Fairy tales play an important role in the harmonious development of the individual. What is harmonious development? Harmony is a consistent relationship of all parts of the whole, their interpenetration and mutual transitions. The strengths of the child's personality seem to pull up the weak, raising them to higher levels, forcing the entire complex system - the human personality - to function more harmoniously and holistically. Moral ideas and judgments of people do not always correspond to their moral feelings and actions. Therefore, it is not enough just to know, to understand "with a head" what it means to be moral, and also only to speak out in favor of moral actions, one must educate oneself and one's child so as to want and be able to be, and this is already the area of feelings, feelings, emotions.

Fairy tales help to develop responsiveness, kindness in the child, make the emotional and moral development of the child controlled and purposeful. Why fairy tales? Yes, because art, literature is a richest source and stimulus of feelings, experiences and precisely higher feelings, specifically human (moral, intellectual, aesthetic). A fairy tale for a child is not just a fiction, a fantasy, it is a special reality, a reality of the world of feelings. A fairy tale pushes the boundaries of ordinary life for a child, only in a fairytale form preschoolers encounter such complex phenomena and feelings as life and death, love and hatred, anger and compassion, betrayal and treachery, and the like. The form of the depiction of these phenomena is special, fabulous, accessible to the understanding of the child, and the height of the manifestations, the moral meaning, remain authentic, "grown-up".

Therefore, the lessons that the fairy tale gives are lessons for life for both children and adults. For children, these are incomparable lessons in morality; for adults, these are lessons in which a fairy tale reveals its own, sometimes unexpected effect on a child.

Listening to fairy tales, children deeply sympathize with the characters, they have an internal impulse to help, to help, to protect, but these emotions quickly fade away, since there are no conditions for their realization. True, they are like a battery, charge the soul with moral energy. It is very important to create conditions, a field of active activity, in which the feelings of the child, experienced by him while reading fiction, would find their application, so that the child can contribute, sympathize really. I would like to draw attention to the imagery, depth and symbolism of fairy tales. Parents are often worried about how to deal with scary tales, read or not read to their children. Some experts suggest excluding them altogether from the "reading repertoire" for young children. But our kids do not live under a glass cover, they are not all the time under the protective protection of dad and mom. They must grow up brave, resilient and courageous, otherwise they simply will not be able to defend the principles of goodness and justice. Therefore, they should be taught early, but gradually and deliberately, to be resilient and decisive, the ability to overcome their own fears. Yes, children themselves strive for this - this is evidenced by "folklore" and scary stories that are composed and retell to each other by children of senior preschool and primary school age.

A child brought up on a folk tale feels the measure that the imagination should not pass in art, and at the same time, realistic criteria for aesthetic evaluations begin to take shape in the preschooler.

In a fairy tale, especially in a magic one, much is permitted. Characters can find themselves in the most extraordinary situations, animals and even inanimate objects speak and act like people, do all sorts of tricks. But all these imaginary circumstances are needed only in order for objects to reveal their true, characteristic properties. If the typical properties of objects and the nature of the actions performed with them are violated, the child declares that the fairy tale is wrong, that this does not happen. Here, that side of aesthetic perception opens up that is important for the development of a child's cognitive activity, since a work of art not only acquaints him with new phenomena, expands the range of his ideas, but also allows him to highlight the essential, characteristic in the object.

A realistic approach to fairy-tale fantasy is developed in a child at a certain stage of development and only as a result of upbringing. T.I. Titarenko showed that kids, without having the relevant experience, are often ready to agree with any fiction. Only in the middle preschool age does the child begin to confidently judge the merits of a fairy tale, based on the plausibility of the events depicted in it. Older preschoolers become so entrenched in this realistic position that they begin to love all sorts of "shape-shifters." Laughing at them, the child discovers and deepens his correct understanding of the surrounding reality.

A preschool child loves a good fairy tale: the thoughts and feelings caused by it do not fade away for a long time, they are manifested in subsequent actions, stories, games, drawing of children.

What attracts a child to a fairy tale? As A.N. Leont'ev, for a correct understanding of certain particular mental processes, it is necessary to take into account the nature of the motives that induce the child to act, for the sake of which he performs the given operation. These issues have received very little coverage in traditional psychology. From the point of view, for example, of psychoanalysts, a child's interest in a fairy tale is due to dark, asocial drives, which, due to the prohibition of adults, cannot manifest themselves in real life and therefore seek satisfaction for themselves in the world of fantastic constructions. K. Buhler believes that in a fairy tale the child is attracted by the thirst for the unusual, the unnatural, the primitive striving for sensation and miracle.

Theories of this kind are in conflict with reality. The huge influence of a properly organized aesthetic perception on the spiritual development of a child is that this perception not only leads to the acquisition of individual knowledge and skills, to the formation of individual mental processes, but also changes the general attitude towards reality, contributes to the emergence of new, higher motives of the child's activity ...

At preschool age, activity becomes more complicated: what it is aimed at and what it is done for is no longer the same, as it was in early childhood.

New motives of activity, which are formed in the general course of the child's development as a result of his upbringing, for the first time make possible a real understanding of works of art, penetration into their ideological content. In turn, the perception of a work of art influences the further development of these motives. Of course, a small child is carried away by the colorful descriptions or the amusement of the external positions in which the characters fall, but very early he also begins to be interested in the internal, semantic, side of the narrative. Gradually, the ideological content of a work of art is revealed to him.

A work of art captivates the preschooler not only with its external side, but also with its internal, semantic, content.

If the younger children are not sufficiently aware of the motives of their relationship to the character and simply declare that the one is good and this one is bad, then the older children already argue their assessments, pointing out the social significance of this or that action. There is already a conscious assessment of not only external actions, but also the internal qualities of a person, an assessment proceeding from high socially significant motives.

To become aware of something, a preschooler needs to act in relation to a cognizable object. The only form of activity available to the preschooler is real, actual action. In order to get acquainted with an object, a small child must take it in his hands, tinker with it, put it in his mouth. For the preschooler, in addition to practical contact with reality, the internal activity of the imagination becomes possible. He can act not only realistically, but also mentally, not only in directly perceived circumstances, but also in imaginary ones.

Playing and listening to a fairy tale create favorable conditions for the emergence and development of the inner activity of the child's imagination. Here there are, as it were, transitional forms from real, actual action with an object to thinking about it. When a child begins to master this form of activity, new possibilities open up before his cognition. He can comprehend and experience a series of events in which he did not take direct part, but which he followed according to the artistic narration. Other provisions that do not reach the child's consciousness, being presented to him in a dry and rational form, are understood by him and deeply touch him when they are clothed in an artistic image. A.P. Chekhov in the story "Home". The moral meaning of an act, if it is expressed not in the form of abstract reasoning, but in the form of real, concrete actions, becomes very early accessible to the child. “The educational value of works of art,” as BM Teplov rightly notes, “is, first of all, that they make it possible to enter“ inside life ”, to experience a piece of life reflected in the light of a certain worldview. And the most important thing is that in the process of this experience, certain attitudes and moral evaluations are created, which are incomparably more coercive than evaluations simply communicated and assimilated. "

Chapter 2. Experimental identification of the characteristics of the perception of fiction by preschool children

2.1 Experimental sample, base and theoretical justification of the experiment

Experimental work was carried out at MBDOU "Child Development Center - Kindergarten No. 1" Mr. Anapa with 15 senior preschool children during the week. The theoretical concept of the experimental part of the work was the provision on the connection between the perception of fiction and the upbringing of a child's behavior culture, i.e. the idea that fiction should be one of the most important means of education. That is why, in all developmental programs of preschool institutions, great attention is paid to working with fiction. Using fiction as a means of fostering a culture of behavior, the teacher should pay special attention to the selection of works, the method of reading and conducting conversations on works of art in order to form humane feelings and ethical ideas in children, to transfer these ideas into the life and activities of children (how much are feelings reflected children, awakened by art, in their activities, in their communication with the people around them).

The purpose of the ascertaining experiment was to identify the level of formation of the skills of the culture of behavior in older preschool children.

We set the following tasks:

Conduct a conversation with educators;

Conduct a conversation with children;

Conduct a survey of parents;

Observe the behavior of children in a preschool educational institution;

To develop criteria for the level of formation of the skills of cultural behavior of older preschool children.

2.2 Conducting an experiment and analyzing the results

To solve the set tasks, we conducted a conversation with educators and children, questionnaires of parents, observation of the behavior of children, analysis of methodological recommendations on issues of upbringing a culture of behavior in preschoolers.

When conducting a conversation with educators, we tried to find out whether they use fiction in their work to educate children in a culture of behavior.

In a conversation with educators, we found out that they consider it important and necessary to work on fostering a culture of behavior in children in kindergarten. Among the main means of educating a culture of behavior is fiction. They easily gave examples of fairy tales, stories, sayings used to educate a culture of behavior (for example, "The Magic Word" by Oseeva, "The Adventures of Dunno and His Friends" by Nosov, etc.).

Thus, on the basis of the conversation, it can be concluded that educators understand the meaning and importance of educating a culture of behavior in preschoolers, and use works of fiction in their work.

We conducted a survey of parents. Analysis of the data suggests that parents understand the culture of behavior narrowly - mainly as the ability to behave in public places. Work is underway to foster a culture of behavior in the family, but parents use a limited set of tools. In particular, no one named a personal example as a means of fostering a culture of behavior. All parents read works of fiction to their children, but some do not realize their importance for fostering a culture of children's behavior.

The conversation with the children showed that all children consider themselves cultured. However, in their opinion, being cultured means saying hello when meeting, being polite in dealing with elders. Only one child said that a cultured person is one who speaks politely both with adults and with peers, looks neat, knows how to behave in public places, at the table. That is, children do not fully understand the concept of "cultural" and should continue to work in this direction.

We also monitored the behavior of children, namely, their culture of communication, culture of activity, cultural and hygienic skills and culture of relationships.

By cultural and hygienic skills, we mean actions associated with maintaining cleanliness and order. We will conditionally divide them into four types: personal hygiene skills, food culture skills, respect for things and skills for maintaining order and cleanliness in the environment.

Observation has shown that most children on their own, without a reminder from the teacher, wash their hands after a walk, before eating. At the table, children sit neatly, do not make noise, only two children talk during meals, turn to other children. After a walk, not all children fold their clothes neatly, most children do this only after being reminded by their teacher, and Katya Ch. Refuses to clean up the closet. Many children do not carefully handle books, things, toys, throw them, do not put them back. Only after repeated requests by the teacher do the children put things in order in the group room, on the site of the kindergarten.

By the culture of communication, we mean the totality of formed socially significant qualities of an individual that determine the way of its existence, the ability to make changes in reality.

Without exception, all children greet and say goodbye to adults, use polite forms of address, such as "please", "thank you". However, half of the children do not use these peer communication skills. Some children do not consider it necessary to greet children in a group, to address them politely. It should be noted that children call each other by name, do not call names.

We observed the culture of activity during classes, in games, performing work assignments.

Children prepare the necessary equipment for the lesson - they take out pens, notepads, etc., clean the workplace after the lesson. However, most children do this reluctantly, obeying the request of the teacher. Matvey Sh., Vlad K. and Matvey A. gladly help the teacher to put things in order in the group after classes, for example, they wash glasses and brushes after drawing, clean the boards from plasticine, etc. Children have a craving for interesting, meaningful activities. They know how to select game material in accordance with the game concept.

Observing the culture of relationships, we found out the following. Children do not always obey the requirements of the teacher. Matvey A., Anya P. often interrupt the teacher, interfere in the conversation of adults. In the game, children know how to negotiate joint actions, solve conflict situations often without the participation of a teacher. Children do not fight if controversial issues arise, many discuss the situation and come to a common opinion, only sometimes resorting to the help of an adult to resolve the conflict.

However, children do not like to share toys, they do not give in even at the request of the teacher. At the same time, they are offended when another child does not give them something, they condemn his behavior, despite the fact that they themselves behave in the same way.

Children come to each other's aid without reminding the teacher: they give a hand if someone falls, help to button up a jacket, bring a heavy object, etc. None of the children refuse to help the other.

Low level - the child knows how to keep the place where he works, studies, plays in order, but he does not have the habit of bringing the work started to the end; he does not always treat toys, things, books with care. The child has no interest in meaningful activities. The child often neglects the rules of hygiene. In communication with adults and peers, he behaves at ease, does not always use the appropriate vocabulary and standards of circulation. Doesn't know how to constructively resolve conflicts without taking into account the interests of a peer. Doesn't know how to negotiate joint actions. Refuses to help an adult or another child.

Intermediate level - children have a pronounced habit of bringing the work started to the end; take good care of toys, things, books. Children are already consciously interested in something new, more active in the classroom. In the process of communicating with adults, children are based on respect, friendly contact, cooperation, but this is not always manifested in communication with peers. Children are more independent, they have a good vocabulary, which helps them in expressing their thoughts and emotions. They always try to comply with the requirements of hygiene: they monitor the tidiness, the frequency of the face, hands, body, hair, clothes, shoes, etc. Children try to resolve the conflict by listening to the opinion of another child, but continuing to insist on their own. Children do not always manage to agree on joint actions, they prefer others to accept their point of view, but sometimes they give in. They help other children or adults at the request of the educator, without showing independent initiative.

When identifying the level of formation of cultural and hygienic skills, we paid attention to whether the children are neatly dressed, whether they wash their hands and do it on their own or as a teacher reminds them. We observed whether children are careful about books, things, toys.

When determining the level of communication culture, we observed how the child behaves during a conversation, what forms of address he uses, whether he knows how to listen to the interlocutor.

Determining the level of formation of the culture of activity, we paid attention to how the child organizes his workplace, time, whether he cleans up after himself, what types of activities he prefers to do.

Identifying the level of culture of relationships, we first of all paid attention to how the child interacts with other children and adults, negotiates joint actions, resolves conflict situations, whether he observes the norms of cultural behavior.

To identify the level of formation of cultural behavior skills in each child, a scale was introduced in points from 1 to 5:

Low level;

3 - middle level;

5 - high level.

The results are shown in Table 1.

The analysis of the results of the table showed that 46% of children have a high level of formation of skills of culture of behavior, 46% - an average, and only 1 child (which is 6% of the number of children) has a low level.

The table also shows that children have the best developed culture of relationships with peers, and least of all - the culture of activity.

Thus, the results of the experimental work allowed us to indirectly reveal the features and the level of completeness of the perception of fiction by preschool children.

Conclusion

Aesthetic, and especially moral (ethical) representations, children must take out precisely from works of art.

K. D. Ushinsky said that the child only learns not conventional sounds, learning his native language, but drinks spiritual life and strength from the native breast of his native language. It is necessary to completely trust the educational possibilities of the literary text.

The perception of a work of art is a complex mental process. It presupposes the ability to know, understand what is depicted; but this is only a cognitive act. A necessary condition for artistic perception is the emotional coloring of the perceived, the expression of the attitude towards it (B.M. Teplov, P.M. Yakobson, A.V. Zaporozhets, etc.).

A.V. Zaporozhets noted: "... perception is not limited to a passive statement of certain aspects of reality, even if very important and essential. It requires that the perceiver somehow entered into the depicted circumstances, mentally took part in the actions."

The value judgments of preschool children are still primitive, but they testify to the emergence of the ability not only to feel the beautiful, but also to appreciate. In the perception of works of art, not only the general attitude towards the entire work is important, but also the nature of the attitude, the child's assessment of individual heroes.

The kid's acquaintance with fiction begins with oral folk art - nursery rhymes, songs, then he begins to listen to fairy tales. Deep humanity, extremely precise moral orientation, lively humor, imagery of language - these are the features of these folklore miniature works. Finally, the child is read the author's fairy tales, the stories available to him.

The people are an unsurpassed teacher of children's speech. In no other works, except for folk, there is such a pedagogically ideal arrangement of difficult-to-pronounce sounds, such a well-thought-out combination of words that barely differ from each other in sound ("there would be a blunt-lipped, blunt-lipped bull, a bull had a blunt lip"). The subtle humor of nursery rhymes, teasers, counting rhymes is an effective means of pedagogical influence, a good "medicine" for stubbornness, whims, and selfishness.

A journey into the world of a fairy tale develops the imagination, the imagination of children, encourages them to write themselves. Brought up on the best literary examples in the spirit of humanity, children in their stories and fairy tales show themselves just, protecting the offended and the weak, punishing the evil.

For children of early and junior preschool age, the teacher mainly reads by heart (nursery rhymes, poems, stories, fairy tales). Only prose works (fairy tales, stories, stories) are told. Therefore, an important part of professional training is memorizing works of art intended for reading to children, developing expressive reading skills - a way to bring to the whole gamut of emotions, developing and improving the feelings of a child.

It is important to form in children the correct assessment of the heroes of a work of art. Conversations can be effective in this, especially with the use of problematic questions. They lead the child to an understanding of the previously hidden "second", the true face of the characters, the motives of their behavior, to self-reassessment of them (in the case of an initial inadequate assessment).

E.A. Fleerina noted the naivety of children's perception - children do not like a bad ending, the hero must be lucky, the kids do not want even a stupid mouse to be eaten by a cat. Artistic perception develops and improves throughout preschool age.

The preschooler's perception of works of art will be deeper if he learns to see the elementary means of expressiveness used by the author to characterize the depicted reality (color, color combinations, shape, composition, etc.).

The goal of literary education for preschoolers, according to S.Ya. Marshak in shaping the future of a great and talented writer, cultured, educated person. The tasks and content of familiarization are determined on the basis of knowledge of the peculiarities of perception and understanding of works of literature and are presented in the kindergarten program.

The results obtained in the practical part of the work will help educators and parents to adjust the direction of pedagogical influence on children in an experimental preschool institution.

Bibliography

1. Alekseeva M.M., Yashina V.I. Methodology for the development of speech and teaching the native language of preschoolers: Textbook. manual for students of environments. ped. institutions. /MM. Alekseeva, V.I. Yashin. - M .: Academy, 2007 .-- 400 p.

Belinsky V.G. About children's books. Sobr. op. T.3. / V.G. Belinsky - M., 1978 .-- 261s.

Vygotsky L.S., Bozhovich L.I., Slavina L.S., Endovitskaya T.V. Experience of experimental study of voluntary behavior. / L.S. Vygodsky, L.I. Bozovic, L.S. Slavina, T.V. Endovitskaya // - Questions of psychology. - No. 4. - 1976.S. 55-68.

Vygotsky L.S. Thinking and speaking. Psychological research / ed. and with entry. article by V. Kolbansky. - M., 2012 .-- 510c

5. Gurovich LM, Beregovaya LB, Loginova V.I. The child and the book: a book for the teacher of children. garden / Ed. by V.I. Loginova - M., 1992-214s.

Childhood: a program for the development and education of children in kindergarten / V.I. Loginova, T.I. Babaeva, et al. - M .: Childhood-Press, 2006. - 243p.

A. V. Zaporozhets Psychology of perception of a literary work by a preschool child // Izbr. psycho. Proceedings of T.1. / A.V. Zaporozhets - M., 1996 .-- 166s.

Karpinskaya N.S. Artistic word in the upbringing of children (early and preschool age) / N.S. Karpinskaya - M .: Pedagogika, 2012 .-- 143p.

Korotkova E.P. Teaching storytelling for preschool children / E.P. Korotkova - M .: Enlightenment, 1982 .-- 128 p.

Luria, A.R. Lectures on general psychology / A.R. Luria - SPb .: Peter, 2006 .-- 320s.

Maksakov A.I. Is your child speaking correctly / A.I. Maksakov. - M. Education, 1982 .-- 160 p.

Meshcheryakov B., Zinchenko V. Big psychological dictionary / B. Meshcheryakov, V. Zinchenko - M .: Prime-Evroznak, 2003. - 672p.

Titarenko T.I. Factors affecting the perception of a literary text by preschool children: Author's abstract. dis. Cand. philol. Science / T.I. Titarenko - M. 2010 .-- 48p.

Repina T.A. The role of illustration in the understanding of artistic text by children // Questions of psychology - №1 - 1959.

Rainbow. The program of upbringing, education and development of preschool children in a kindergarten / T.N. Doronova, S. Yakobson, E. Solovieva, T. Grizik, V. Gerbova. - M .: Education, 2003 .-- 80s.

Rozhina L.N. Psychology of upbringing a literary hero by schoolchildren / L.N. Rozhina - M .: Education. - 1977 .-- 158 p.

Rubinstein S.L. Fundamentals of General Psychology. M., 1946.465-471s.

B.M. Teplov Psychological issues of art education // Pedagogy. - 2000. - No. 6. - P.96.

Tikheeva E.I. The development of the speech of children (early and preschool age). /E.I. Tikheeva // Preschool education. - No. 5. - 1991. from 12-18.

Philosophical Encyclopedic Dictionary. - INFRA-M, 2006 - p. 576.

Yashina V.I. Some features of the development of the vocabulary of children of the fifth year of life (on the basis of familiarization with the work of adults): author. dis. Cand. ped. Sciences, - M., 1975 .-- 72s.

... # "center"> Annex 1

Table 1. Results of the ascertaining experiment to identify the level of formation of cultural behavior skills in older preschool children

F.I. childCultural and hygienic skillsCulture of communicationCulture of activityCulture of relationships. Average grade with adults with children with adults with children Matvey A. 3111131.7 Katya Ch. 1211121.3 Low. Matvey Sh. 4433443.7 Elina I. 5553454.5 High. Sonya J. 3433443.5 Marcel C. 4543444 Vadim S. 2332332.7 Vlad K. 1221332 Danil K. 5443454.2 High. Anya P. 4224333 Alena S. 4442443.7 Styopa Z. 4543454.2 High. Stepa E. 4543343.9 Arthur B. 5554554.8 High. Polina J. 4444444 Wed score 3.53.73.32.73.43.93.4

Tutoring

Need help exploring a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Send a request with the indication of the topic right now to find out about the possibility of obtaining a consultation.

Description of the presentation for individual slides:

1 slide

Slide Description:

PERCEPTION OF ARTISTIC LITERATURE AND FOLKLORE The content of educational activities Prepared by the educator V.K. Bashlykova I.Yu. INTRODUCTION OF GEF TO

2 slide

Slide Description:

The perception of fiction and folklore is one of the types of activity that ensures development in all educational areas and part of the tasks will be solved directly by this type of activity, and some, only under certain conditions. The perception of fiction and folklore contributes to the appropriation of moral and ethical norms and values accepted in society.

3 slide

Slide Description:

Perception of fiction and folklore thinking memory imagination attention sensations and emotions Provides development in all educational areas Artistic and aesthetic development Speech development Social and communicative development Cognitive development Physical development

4 slide

Slide Description:

Perception of fiction and folklore The technical side The semantic side of understanding the text emotions, imagination, logical comprehension The creative process of viewing a book reading a text discussion of what has been read Reproduction and comprehension

5 slide

Slide Description:

Technical side READING OF ARTISTIC LITERATURE IN KINDERGARTEN: Stages of reading activity Methodological techniques Consideration of the book a) discussion of the title of the text, illustrations b) conversation (what questions have arisen?) it is important to help little readers "enter" the text: the nature of reading the text, primary reading Discussion of the reading a) invite children to tell briefly what the text is about b) play "truth - untruth" c) offer to express their attitude to what has been read with the help of paints, gestures , facial expressions Reproduction of the comprehension of what has been read with the help of specials. tasks a) you can play the story in persons b) draw a "cartoon" (with the help of an adult) c) offer a retelling using illustrations, free narration d) a poetic text: recitation, choral reading e) performing a task in special. educational manuals "Our books" O. V. Chindilova, A. V. Badenova

6 slide

Slide Description:

Semantic side Formation of areas of reading activity: Areas of reading activity Age of children Methods and techniques of work Emotional sphere: from 2 years Expressive reading, joint chanting, comparison of a literary work with other types of art, revitalization of personal impressions by association with the text, etc. Sphere of recreational and creative imagination: from 4-5 years old Drawing, creative retelling, dramatization, making maps, schemes, layouts, costumes, etc. Sphere of reaction to an art form: from 5-6 years A story about a hero, an event, discussion of the hero's deed, selective retelling , posing questions on the text, answering questions, etc. Scope of reaction to the art form: 6-7 years Observation of sound recording, rhythm, rhyme

7 slide

Slide Description:

Semantic aspect The structure of reading activity: The main criterion for choosing methods and techniques in organizing children's activities of perception of fiction and folklore is a reference point for the most active sphere of reading activity in a given age period and for the tasks of a particular stage of activity Motivational stage: Inclusion of motives, formation objectives Indicative research stage: forecasting and planning Performing stage: impact on emotions, turning on the imagination, semantic processing of the text Reflexive stage: fixing emotions, the meaning of the text, creativity

8 slide

Slide Description:

Artistic and aesthetic development The child develops elementary ideas about various types of art: Music: The child expresses his attitude to the hero or plot through a song, dance Visual arts: The child illustrates a fairy tale or examines illustrations for the text Theater: The child dramatizes the work TEACHER: Introduces the child to the perception of the text through dialogue and commented reading; Creates conditions for the development of prerequisites for value-semantic perception and understanding of works; Forms elementary ideas about various types of art; Stimulates empathy for the characters of works of art; Creates conditions for the formation of an aesthetic attitude to the surrounding world described in the work

9 slide

Slide Description:

Speech development The child develops a coherent, grammatically correct dialogical and monologue speech; The child masters speech as a means of communication; The sound and intonational culture of speech, phonemic hearing of the child develops; Sound analytic-synthetic activity is formed as a prerequisite for teaching a child to read and write; An elementary understanding of children's literature and its genres is being formed; The perception of the text by ear is formed, and at the reflexive stage, children reproduce (stage) the work, etc. TEACHER: Introduces children to conversations on spiritual and moral topics; Stimulates speech activity based on literary works and folklore; Teaches children to rely on personal experience (real situations of children's communication); Introduces children to book culture (looking at the book)

10 slide

Slide Description:

Social and communicative development of the TEACHER: Draws the child's attention to the significance of the actions of the heroes of the work (the child tries on the role of the character, evaluates his actions, imitates him); Promotes the development of emotional responsiveness, empathy; Develops the ability to communicate and interact with peers and adults; Contributes to the formation of self-regulation and independence The child develops a respectful attitude and a sense of belonging to his family, small homeland and fatherland; The child develops ideas about the socio-cultural values of our people, about domestic traditions and holidays, the continuity of generations; The child develops the skills of communication and interaction with adults and peers, a readiness for joint activities is formed; The rules of safe behavior in everyday life, society and in nature are fixed

Works of fiction contribute to the emotional development of preschoolers, which is expressed in the desire to immediately show the feelings that have arisen in them when listening to fairy tales and stories, emotions in actions. Fiction texts introduce children to the richness of the world of human emotions, show to understand the reasons for their occurrence and change.

Fiction has always been recognized as the main means of speech development for children: acquaintance with literary works arouses interest and fosters love for the native language, its wealth and beauty, enriches figurative vocabulary, contributes to the development of expressive speech of preschoolers.

Thus, familiarization with the literature affects all aspects of the child's personality. At the same time, the modern socio-cultural situation complicates this process. Our society, still in the recent past "Reading" , turned into "Beholder" ... The fading interest in reading, in the book, had a negative impact on adults and, as a result, had an extremely negative impact on children and their personal culture. This requires innovative approaches to the selection of tasks and the content of work in kindergarten in this area of pedagogical activity.

The conceptual position of the correction and renewal of the traditional approach of introducing preschoolers to fiction is to consider this problem from the standpoint of literary development.

The concept of literary development is interpreted by researchers as the ability of a child "Think in verbal and artistic images" (N. D. Moldavskaya); as the implementation of the experience of the general mental development of a child with an emphasis on the area of emotional in the reader's perception (V.G. Marantzman); as the embodiment of literary abilities, such as impressionability, observation, creative imagination, implying a clear and vivid representation of both directly observed impressions and images created verbally, manifested "... in the ease of formation of associations between words and images" (A. G. Kovalev, A. Maslow); as a process of qualitative changes in perception, interpretation of literary texts and the ability to reflect literary experience in various types of artistic activity (O. V. Akulova, N. D. Moldavskaya, O. N. Somkova).

The basis of literary development is the perception of a literary text. The problem of perceiving a work of art was reflected in the studies of L. S. Vygotsky, L. M. Gurovich, A. V. Zaporozhets, M. R. Lvov, N. G. Morozova, O. I. Nikiforova, B. M. Teplova, O.S.Ushakova, E.A.Flerina and others.

Full-fledged perception is understood as the reader's ability to empathize with the heroes, the author of the work, see the dynamics of emotions, reproduce in the imagination the pictures of life created by the writer, reflect on the motives, circumstances, consequences of the characters' actions, evaluate the heroes of the work, master the idea of the work.

Thus, the literary development of preschoolers can be defined as a process of qualitative changes in perception, interpretation of literary texts and the ability to reflect literary experience in different types of artistic activity.

The tasks of the literary development of children of different age groups.

Tasks of working with young children:

to instill in children an interest in folklore and literary texts, a desire to listen carefully to them
enrich "Reader" an experience (listening experience) due to various small forms of folklore (nursery rhymes, songs, jokes), simple folk and author's tales (mainly about animals), stories and poems about children, their games, toys, everyday household activities, about animals familiar to children
promote the perception and understanding of the text by children, help mentally imagine events and heroes, identify vivid actions of the hero, try to evaluate them, establish the simplest connections of the sequence of events in the text
support a direct emotional response to a literary work and its heroes.

Tasks of working with children of middle preschool age:

deepen children's interest in literature, foster a desire for constant communication with the book, both together with an adult and independently
expand "Reader" an experience (listening experience) due to different genres of folklore (jokes, riddles, chants, fables, fairy tales about animals and magic), literary prose (fairy tale, story) and poetry (poems, author's riddles, funny children's fairy tales in verse)
develop the ability for a holistic perception of the text, which combines the ability to identify the main content, establish temporary, sequential and simple causal relationships, understand the main characteristics of heroes, simple motives of their actions, the value of some means of linguistic expression for conveying images of heroes, especially important events, emotional implications and the general mood of the work or its fragment
support the desire of children to reflect their impressions of the works they listened to, literary characters and events in various types of artistic activities: in drawings, making attributes for theatrical games, in dramatization games, etc.

Tasks of working with older preschool children:

maintain children's interest in literature, foster a love of books, promote the deepening and differentiation of readers' interests
enrich "Reader" children's experience through works of more complex genres of folklore (magic and everyday tales, metaphorical riddles, epics), literary prose (a fairy tale, a story with a moral connotation) and poetry (fables, lyric poems, literary riddles with metaphors, poetic tales)
to educate literary and artistic taste, the ability to understand the mood of the work, to feel the musicality, sonority and rhythm of poetic texts; beauty, imagery and expressiveness of the language of fairy tales and stories
contribute to the development of artistic perception of the text in the unity of content, form, semantic and emotional implications
to contribute to the expression of attitude towards literary works in various types of artistic and creative activities, self-expression in the theatrical play in the process of creating a holistic image of the hero in his change and development.

Mastering tasks is carried out in joint activities organized by the teacher (developing, problem-playing and creative-game situations based on artistic text, literary entertainment, theatrical games), as well as by means of organizing a subject-developing environment for activating independent literary, artistic-speech, visual and theatrical activities based on familiar folklore and literary texts.

Literary works and their fragments are included in the regime moments, in the observation of the phenomena of animate and inanimate nature. At the same time, it is necessary every day to purposefully acquaint children with a new text or organize activities based on what is already known. To enhance the emotional impact of works of art on children, it is important to combine reading a literary text with listening to music, watching works of fine art (for example, reading poetry while children are listening to music, looking at reproductions of paintings, etc.).

All forms of joint activities of the educator and the children expand and deepen the reading interests of children, promote the active use of literary texts in various types of creative activity, and shape the future talented reader of the great reading country.