The verbal creativity of preschool children. Theoretical foundations of the formation of verbal creativity from senior preschoolers in psychological and pedagogical literature
Sevastopol City Education Department
State budgetary educational institution
vocational education
cities of Sevastopol "Sevastopol Pedagogical
college named PK Menkova "
Department of pre-school education
Course work
Subject: "Forming verbal creativity in older children in the process of training stories
by the description of nature "
Head
Taranenko Svetlana
Mikhailovna
Teacher
__________________________
signature
"____" ______________ 2017.
Student Groups up to 14-1
Ivanova Alevtina
Andreevna
___________________________
signature
"____" ______________ 2017.
Sevastopol 2017.
CONTENT
Introduction ................................................................................ ..3.
Chapter 1. Theoretical foundations for the formation of verbal creativity in preschoolers ................................................................................................... 7
1. Development of creative abilities in preschool children in the process of familiarization with nature ................................................................................. 7
2. The role of nature in the development of the creative abilities of the children of the senior
preschool age ......................................................................9
Chapter 2. Development of verbal creativity from senior preschoolers ..........15
1. Perfect of children's verbal creativity from older preschool children .................................................................................................. .15
2. Essence and technique of learning descriptive stories about nature ...... 18
Conclusion .............................................................................. ... 24
List of references .......................................................................25
Introduction
The development of imagination is one of the leading psychic development lines of preschool age. In addition to the ability to transform images, impressions, which is recognized as the main mechanism for the functioning of the imagination, the assimilation of speech plays an important role in its development. L. S. Vygotsky noted that the speech frees the child from his immediate impressions, makes it possible to imagine the subject he has not seen, and think of him.
One of the manifestations of creative imagination is children's verbal creativity. Two types of wording (A. G. Tambovseva, L. A. Wenger, and others), these are so-called neoplasms
words and word formation (children's neologisms). And second, it
writing is an integral component of artistic and speech activities. In the latter case, the 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 expressing in the creation of oral
works - fairy tales, stories, poems, etc. . Creating writings implies the ability to modify, convert memory presentation and create new images and situations on this basis, to determine the sequence of events, establish links between individual events, "enter" in the circumstances depicted, select speech tools for building a connected statement.
According to V.T. Kudryavtseva, children's wordness is valuable not only for speech development, but also to assimage the native language. The scientist assures that children's linguistic experiments are a universal mechanism of "entry" in culture.
The formation of children's verbal creativity was studied by E.I. Theyeva, E.A. Fleirina, M.M. Konina, L.A. Penaevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Vorosnina, E.P. Korotkova, A.E. Shibinsky and a number of other scientists who have developed themes and types of creative telling, techniques and sequence of training.
According to Vikhova N.N., Sharicova N.N., Osipova V.V. The peculiarity of creative telling is that the child must independently come up with the content (plot, imaginary actors), relying on the topic, its past experience and enjoying it in a connected story. The possibility of developing creative speech activities arises in the senior preschool age when children appear quite a large stock of knowledge about the world around. 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 child's life experience. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical effects.
The creative told of children is considered as a type of activity that captures the identity of the child as a whole: requires the active work of imagination, thinking, speech, manifestation of observation, volitional effort, participation of positive emotions.It is a creative told that brings the child to the level of monologic speech, which will be required to go to the new leading activity - study, as it provides great opportunities for an independent expression by the child of their thoughts. The conscious reflection in the speech of various connections and relations between objects and phenomena, plays an important role in the development of verbal - logical thinking, contributes to the intensification of knowledge and ideas about the environment. To teach draw up a descriptive story about nature - it means not only to awaken his interest in what he tells about, but also to help the child understand, feel the beauty of the described object or phenomenon and thereby call, he has a desire to find the necessary words and expressions to convey it In his speech.
K. D. Ushinsky emphasized the role of nature in the development of logical thinking and connected speech. He considered the logic of the nature of the most useful, affordable and visual for the child. It is the direct observation of the surrounding nature "... will be the initial logical exercises of thoughts on which logicality depends, i.e. The truth of the word itself, and of which, then the logical speech and understanding of grammatical laws by itself will flow. The process of knowledge of nature throughout its diversity contributes to understanding and use in connected speech of various grammatical categories, denoting titles, actions, quality and helping to analyze the subject and phenomenon from all sides.
Currently, the high social significance of the development of verbal creativity in children causes a different look at the issues of education and training in kindergarten, the relevance and need to draw up developing work on the development of creative abilities in children.
A pedagogical impact on children is becoming increasingly important, that is, the creation of conditions and the use of various methods, techniques and forms of organizing work on the development of creative abilities of preschoolers in the process of familiarization with nature.
It follows from this that children must be specifically learning to talk about nature:
1. Give them sufficient knowledge to make a relatively complete and accurate story, about which - either subject or phenomenon of nature;
2. Develop the ability of children to formulate their idea, imagination, thinking, manifestation of observation;
The relevance of the topic is related to the problem of mastering the skills of verbal creativity in the speech of the preschooler. The shortest way to emotional restraints of the child, removal of compression, training of feeling and artistic imagination is the way through the game, fantasy, writing and creating a holistic learning system for verbal creativity
Object of study: the verbal work of children of senior preschool age in the description of nature
Subject of research: the formation of verbal creativity in the process of learning to compile stories on the description of nature.
Research tasks:
Features of the development of verbal creativity in children of senior preschool age.
Development of creative abilities in preschoolers in the process of familiarization with nature;
The role of nature in the development of children's creative abilities;
Examine ways to develop a coherent speech based on familiarization with nature, enrichment and activation of a dictionary on this issue.
Teaching children telling about nature.
Methodical techniques that prepare children to compile descriptive stories about nature.
The goal of the course work:
Studying methods and techniques for learning children to compile nature stories.
Chapter 1. Theoretical foundations of the formation of verbal creativity from preschoolers
1. Developing creative abilities in preschool children in the process of familiarization with nature.
It is known that the teaching of children creative telling the process is gradual and quite complicated. The most successfully he leaks under the guidance of teachers, parents who help children master these skills, both on specially organized classes and in the process of everyday life. Preschoolers at the older age are available creative told about events from the surrounding life, about relationships with friends, on topics from personal experience, inventing stories, fairy tales.
The creative told of children is considered as such a type of activity that captures the identity of the child as a whole. It requires the active work of imagination, thinking, speech, manifestation of observation, volitional effort, the participation of positive emotions. It is a creative told that brings the child to the level of monologic speech, which will be required to go to the new leading activity, because, it presents great opportunities for an independent expression by the child of his thoughts. The conscious reflection in the speech of various connections and relations between objects and phenomena, plays an important role in the development of verbal - logical thinking, contributes to the intensification of knowledge and ideas about the environment. To teach draw up a descriptive story about nature - it means not only to awaken his interest in what he tells about, but also to help the child understand, feel the beauty of the described object or phenomenon and thereby call, he has a desire to find the necessary words and expressions to convey it In his speech.
The ability to draw up creative stories on their own, while observing all the necessary norms (literacy, structure, integrity, etc.), by definition of A. M. Leushina, "Higher achieving the speech development of a preschooler." In the preparation of the story, the child's speech should be meaningful, detailed, logical, consistent, connected, competent, lexically accurate, phonetically cleaned.
ON THE. Vetlugin noted thatin his work, "the child opens a new one for himself, and for others - new in itself."
The possibility of developing creative speech activities arises in the senior preschool age when children appear a fairly large supply of knowledge about the environment, which can be the content of verbal creativity. Children seize complex forms of connected speech, the dictionary. They have the opportunity to act according to the plan. "The imagination from the reproductive, mechanically reproducing reality is turning into a creative one, it is explained by the acquired ability of children to operate with its ideas, summarize, analyze, conclusted.
L. S. Vygotsky, K. N. Kornilov, S. L. Rubinstein, A. V. Zaporozhets consider creative imagination as a complex mental process, inextricably linked with the child's life experience. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical effects.
The verbal creativity is the most difficult type of child's creative activity. Element of creativity is in any children's story. Therefore, the term "creative stories" is the conditional name of the stories that children come up with themselves. Features of creative telling are that the child must independently invent the content (plot, imaginary actors), relying on the topic and its past experience, and entertain him in the form of a connected story. No less difficult task - exactly, expressively and enjoyed its intention. Creative told to some extent to some kind of true literary creativity. From the child, the ability to choose from the existing knowledge of individual facts is required, to make a fantasy element in them and make a creative story.
Another important condition for successful learning creative telling is considered to be the enrichment and intensification of the dictionary. A rather rich and diverse dictionary is the basis for the development of a coherent speech consisting of properly compiled offers. Children need to replenish and activate the dictionary due to words-definitions; Words to help describe experiences, features of the character of acting persons. Therefore, the process of enriching the experience of children is closely associated with the formation of new concepts, a new dictionary and the ability to use the existing margin of words. To develop a connected speech, it is very important to teach the proposals of different types. A.N. Nipers have repeatedly emphasized this and attached great importance to mastering the syntax of complex proposals, as they "give exclusively" a variety of opportunities for the expression of relations and relationships of thoughts. The transfer of knowledge about nature requires the mandatory use of complex proposals. So, watching the winter landscape, children with the help of the educator give a variety of definitions of the qualities and states of snow: white, like cotton; a little bluish under the tree; sparkles, overflow, sparkles, glitters; Fluffy, falls flakes. Then these words are used in children's stories: "It was winter, in the last month of winter, in February. When the last time snow fell - white, fluffy - and everything fell on the roofs, on the trees, on children, white big flakes. "
2.Rol nature in the development of creative abilities of children of senior preschool age.
Nature at all times served as the content of fine creativity. N. E. Rumyantsev, a well-known Russian teacher, wrote that the nature "Eternally live, renewing, great in its diversity ... is always a living spring of poetic creativity." V. A. Sukhomlinsky wrote: "The world surrounding the child is, above all, the world of nature with the infinite wealth of phenomena, with an inexhaustible beauty. Here in nature, the eternal source of children's mind and creativity. " K. D. Ushinsky wrote: "A beautiful landscape has such a huge educational influence on the development of a young soul, with which it is difficult to compete with the influence of the teacher."
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Nature surrounds the child from an early age, is one of the main means of aesthetic education of children.The beauty of nature leaves no doubtful even the youngest children.
A variety of surrounding world, objects of nature allows the educator to organize an interesting, useful, cognitive activity of children. Aesthetic perception is ensured by the immediate, living "communication of children with nature. In the course of games, observations, labor, children get acquainted with the properties and qualities of the objects and phenomena of nature, learn to notice their change and development. They develop curiosity. Observation of nature of nature - sunrise and sunset, spring droplets, gardens bloom and much more - not knowing the limit of the source of artistic impressions. Acting on the emotions of the child with its beauty - perfection of the form, diverse and (depending on the time of day, year, lighting) with a variable flavor, nature causes aesthetic feelings. The aesthetic perception of nature causes a feeling of gentle, caring attitude towards plants, animals, the desire to take care and care for them. This makes it possible to educate logical thinking in pupils, random attention, and most importantly, creative abilities. The expansion of the ideas about the world of nature occurs from preschoolers every day, in direct educational activities, for walks, during observations. To form creative abilities in children, it is necessary to use in moments of observations of diverse expressions, comparisons, epithets that can be found in poetic works, because the paintings of nature inspired many poets and writers. Also, help the child to know the beauty, truth, good of the artists-landscape players. Colorful images of the works of landscape painting are taught guys to fantasize, they have a desire to create something like that. When familiarizing children with nature, it is important to give them the right ideas about the life of animals, plants, the beauty of their appearance in an interesting, accessible form. Animals attract the attention of children with their habits, mobility, habitat, the fact that they are associated with a person. It is necessary to show children a variety of animal in the world, allow them to observe and study animals (on the street, in the zoo, at home). Some guys have homemade pets, and they, of course, are happy to draw them and tell a lot about them. It always causes a positive response, and also contributes to the clarification of their knowledge about nature objects and a positive attitude towards it.
Nature is a source of knowledge, and the knowledge of various natural phenomena is closely associated with the mastery of speech.N.F. Vinogradova argues that nature with all variety of forms, paints, sounds is the richest source of development of the vocabulary of a preschooler and aesthetic experiences of the child. Children are always and everywhere in one form or another touch with nature. Green forests and meadows, bright flowers, butterflies, beetles, birds, beasts, moving clouds, falling snow flakes, streams. Even the puddles after the rain - all this attracts the attention of children, pleases them, gives rich food for their development. In the process of contemplating the nature of the child, the child has the ability to correctly determine the size of the object, its shape, symmetry, colors, their harmonious combination and contrast of flowers, or disharmony, determine the shades of color with different degrees of illumination at different days of the day, season, etc. But all this child can only if there is a corresponding names of objects, objects and phenomena in its dictionary, as well as the formation of relevant submissions in its framework.
K. D. Ushinsky emphasized the role of nature in the development of logical thinking and connected speech. He considered the logic of the nature of the most useful, affordable and visual for the child. It is the direct observation of the surrounding nature "... will be the initial logical exercises of thoughts on which logicality depends, i.e. The truth of the word itself, and of which, then the logical speech and understanding of grammatical laws by itself will flow. The process of knowledge of nature throughout its diversity contributes to the understanding and use of connected speech of various grammatical categories, denoting names, actions, quality and helping to analyze the subject and phenomenon from all sides.
Nature gives the richest, emotional experience to children."Nature is not only a great teacher, but also the Great Educator. Beautiful in nature is infinite and inexhaustible. Therefore, nature is a source for creativity. Beautiful in nature was and remains the subject of artistic development of it. Therefore, great artists - have always been the discovers of the beautiful in the outside world. "
Interest in nature is also needed to raise. Showing children that and how to observe in animals and plants, paying their attention to the appearance, movement, habits, the educator forms not only knowledge of nature, but also the attitude of children to her.
The ability to see nature is the first condition for upbringing through nature. It is achieved only with constant communication with nature. To feel part of the whole constant, it is necessary to be in relationships with this whole. That is why harmony of pedagogical impacts requires constant communication with nature.
In direct contact with nature, together with observation, curiosity develops.
Child need to teach to see nature. After all, look - does not mean to see. Not all is perceived by all that is imprinted in the retina of the eyes, but only what attention focuses on. We see only when we are aware. Children need to learn to see. This means not only to show, but also describe verbally. For example, describe the paints and shades of a sunset sky and dawn, describe the shape of the clouds and their painting, describe the starry sky and the moon, show all this. If residents of high floors can see the sky from the window or from the balcony, then others will see it, going out into the courtyard. The sky is extremely varied and always fine. Contempted it daily, throughout life, can not get bored, as can not be bored. On the contrary, every day such contemplation, at least within a few minutes, refreshes the soul. You also need to "see" snowfall or rain, or thunderstorm. In the house there should always be flowers, behind which the child is cautious, observes and whose beauty rejoices. The cities have trees, boulevards, squares, parks. And here you need to teach children to "see" trees, flowers, shrubs: notice the features and shades of petals, leaves, watch how you swell and bloom the kidneys or begin to yellow leaves, how blooms bloom and ripen seeds. It is necessary that the child chose a tree in the nearest environment, which seems to him the most attractive, and watched his fading and winter bed. Let it refer to his beloved tree as a friendly being - visits him, notes new shoots, helps him.
The main task in the development of creative abilities with the means of nature is awakening in children of an emotional attitude towards it. Emotional attitude towards nature helps to make a person above, richer, more carefully. Nature is one of the factors affecting the development and formation of creative abilities. It is an inexhaustible source of impressions and emotional impact on a person. In human life, nature occupies a significant place, contributes to the formation and development of creative skills.
A large role in the development of creative abilities of preschoolers by means of nature belongs to the pedagogical team of kindergarten. The most effective sequence of work is:
Direct perception of nature;
Organized observation of nature during walks and excursions.
The observation of the surrounding reality has a profound impact on the comprehensive development of the child's personality. In the process of observation, the child includes all analyzers: visual - the child sees the size, the color of the object under study; The auditory - the child hears the sound of the wind, the water splash in the river, the knock of the raindrops, the rustle of the leaves, the murmur of the stream - all this is charming for a child's rumor. The taste makes it possible to finely distinguish - the sweet taste of honey and the salty taste of seawater, the taste of spring water. Touching is the second eye of the child. Feeling nature objects, the child feels all the roughness of the bark of trees, grapple sand, scales of cones. Smells also worry the imagination of the child. Develop observation in children - this is the task that rises to the educators.
In work on the development of creative abilities with the means of nature with children of preschool age, the educator should know well the features of this age. Children of this age there is a great desire for independence, creativity. They all want to see everything to open themselves. This interest encourages children to active activities. But its direction in relation to nature may be different.
Chapter 2. Development of verbal creativity from preschoolers.
1. Features of children's verbal creativity in older preschool children.
Cleaning creativity is a process associated with the general development of the child. There is a direct relationship between the development of the speech of children and their creativity. The very creativity is unthinkable without mastering the child, the richness of the language that speaks, thinks. Of course, this mastering we understand according to the peculiarities of preschool age.
The concept of "verbal creativity" can be applied to any occasion of creativity related to the word. At the same time, it refers to two, albeit connected, but still fundamentally different areas: creativity in speech and creativity in the language.
In pedagogical studies devoted to the problem of the formation of verbal creativity, it is proved that creative speech activities are successfully implemented in senior preschool age under the influence and as a result of special training, which is the choice of funds (L.M. Vorosnina, E.P. Korotkov, .A. Orlanova, O.N. Somakova, E.I. Tikheva, O.S. Ushakov, E.A. Fleina and others).
In the heart of verbal creativity, O. S. Ushakov "notes" lies the perception of works of fiction, oral folk creativity, including small folklore forms (proverbs, sayings, riddles, phraseologism) in unity of content and artistic form. She considers verbal creativity as an activity arising under the influence of works of art and impressions from the surrounding life and expressing in the creation of oral compositions-stories, fairy tales, poems. "
The verbal creativity of children is expressed in various forms: in writing stories, fairy tales, descriptions; in the composition of poems, mysteries, nonfilts; in the wordiness (creating new words - neoplasms).
For the teaching methodology, creative telling is of particular importance to understanding the features of the formation of artistic, in particular the verbal, creativity and the role of the teacher in this process.
N. A. Vetloga celebrated the validity of the dissemination of the concept of "creativity" on the activities of the child, defending his word "baby". In the formation of children's artistic creativity, she highlighted three stages.
At the first stage, experience is accumulated. The role of the teacher is to organize vital observations affecting children's creativity. The child should be leaning with a figurative vision of the surrounding.
The second stage is the actual process of children's creativity, when the intention arises, the search for artists. The emergence of the idea of \u200b\u200bthe child passes if an installation is created for new activities (invent a story). The presence of a plan encourages children to find the means of its implementation: search for compositions, selection of actions of heroes, choosing words. Of great importance here are creative tasks.
In the third stage, new products appear. The child is interested in her quality, seeks to complete her, experiencing aesthetic pleasure. Therefore, it is necessary to analyze the results of creativity by adults, his interest. Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary to teach children creative telling.
Since the basis of creative telling is the process of processing and combining ideas, reflecting real validity, and the creation on this basis new images, actions, situations that have not previously had seats in direct perception. The only source of combinatorial activity of the imagination is the world around. Therefore, creative activity is directly dependent on the wealth and diversity of ideas, life experience giving material for fantasy.
One of the conditions for the success of children in creative activity is the constant enrichment of the experience of children with impressions of life.
This work may have a different character depending on the specific task: excursions, work observations of adults, viewing paintings, albums, illustrations in books and magazines, reading books. So, before the description of nature, systematic observations of seasonal changes in nature and reading literature with the description of natural phenomena are used.
Reading books, especially a cognitive character, enriches children with new knowledge and ideas about the labor of people, the behavior and actions of children and adults, deepens the moral feelings, gives excellent samples of the literary language. The works of oral folk creativity contain many artistic techniques (allegory, dialogue, repeats, personification), attract a kind of structure, artistic form, style and language. All this has an impact on the verbal creativity of children.
Creative story - a productive activity, the end result should be a connected, logically consistent story. Therefore, one of the conditions - the ability of children to talk to talk, own the structure of a connected statement, know the composition of the narrative and description.
The subject of creative stories should be associated with the general tasks of education in children of the right attitude towards the surrounding life, education of respect for the elder, love for younger, friendship and partnership. The topic should be close to the experience of children (the visible image is based on the imagination) is 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 divided into the following types of: stories of realistic nature; fairy tales; Descriptions of nature.
The most difficult task is to create a descriptive nature text about nature, since to express their attitude towards nature in the coherent text to nature. To express their experiences associated with nature, he needs to own a large number of generalized concepts, to a greater degree to the synthesis.
In the process of training of connected speech, children master the skills to draw up stories of various species. E.P. Corotkova highlights actual, creative, descriptive and plot stories.
Education to the native language, in particular training creative telling - one of the main tasks of training for school. Many studies have been conducted on the formation of connectedness, imagery and other qualities of monologic speech - different types of telling, including creative. The study is devoted to the study of O.Solovyeva, E.I. Kadina, V.A.Zikeyeva, E.G. Baturina, Yu.S. Lyakhovskaya, G.A.Tumakova, V.V. Gerbova, and others. Thanks to this Research in pre-school pedagogy has developed general ideas about the areas of work on the development of creative telling from preschoolers.
Creative stories require a child of the ability to modify the experience available from him, create a relatively new (for the child-narrator) images and situations from this material. Moreover, creative stories can also rely on the visual basis (come up with events with the characters of the picture, going beyond the limits of the depicted; come up with a fairy tale about the toy bobcon and a bunny, which the child holds in his hands), or on verbal (come up with a story on the spell "How Sergei helped Natasha).
Children show great interest in independent essay. It is necessary to create certain conditions for the development of creative speech skills of children:
- drawing up a variety of types of creative stories;
In the senior group - inventing the continuation and end to the story, stories by analogy, stories according to the educator plan, according to the model;
In the preparatory group - stories, fairy tales on the topic proposed by the educator, modeling the story;
Identify the individual abilities of the child to creative speech activities.
One of the important methodological issues of learning creative telling is the question of choosing plots. The plot can be approved if he causes a desire in children to come up with a story, a fairy tale with a clear composite construction, with the inclusion of elementary descriptions, if they correspond to the experience of the child, the level of his speech development affects moral and aesthetic feelings, activates the imagination, deepens interest in speech activity.
2. Essence and methodology for learning descriptive stories about nature.
The ability to talk about nature is formed in children gradually. For this, it is necessary for children to specifically teach talk about nature:
It is necessary to give the child the necessary knowledge that will help make a relatively complete and accurate story about any subject or phenomenon of nature;
Develop the ability of children to formulate their idea and submit their information whenever possible is logical and consistent.
N.F. Vinogradova offers several types of stories that teach children to describe nature. This sequence of types of stories provides a gradual complication of working with children.
1. A storyline on the basis of direct perception or labor in nature ("As we arranged a flower garden", "Who had dinner in the bird dining room");
2. The story and descriptive story on the basis of summarizing the knowledge gained as a result of conversations, reading books, viewing paintings ("How the animals live in winter", "what happened to lisates").
3. Descriptive story built on a comparison of different times of the year ("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 nature
("Bouquet of daisies") .
The smallest difficulty in children cause descriptive stories built on the comparison of different times of the year. Children describe items and phenomena that have repeatedly observed on excursions and walks. To compile such a story, you can use landscape pictures of famous artists, for example: I. Shishkin "Morning in Pine Bor", the educator can offer the task: "Tell me what it would be painted in the picture, if the artist wanted to portray the evening."
The plot story about nature on the basis of direct perception or labor is available to children of the fifth-sixth anniversary of life, since it should reflect specific situations familiar to them. Such a story based on the teacher is possible in the middle group of kindergarten.
The most difficult of all stories about nature is a descriptive story about a separate subject or phenomenon of nature. Children in such descriptions more often list the signs and properties of the subject, and not their relation to the described object.The preparation of plot stories about nature is given to children is much easier than the preparation of descriptive. Therefore, the learning process about nature is different from learning to other topics.
To teach a child, to draw up a descriptive story about nature - it means not only to awaken it to what he tells about, but also help him understand, feel the beauty of the described object or phenomenon and thereby call him the desire for the necessary words and expressions to convey in his speech.
Descriptive story is one of the types of creative story.
To train children to compile a descriptive story about nature, it is necessary to develop expressiveness and image patterns of children, to develop the ability to transfer their attitude to what they say about.
A peculiar impetus for the education of expressiveness of the speech of children is bright diverse impressions of the surrounding world. Watching pictures of nature along with the educator, 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 high here.
N. A. Vetloga noted that in his work "the child opens a new one for himself, and for others - a new one about himself." .
Mastering by children with a figurative speech should not be limited to accumulation in their Russian epithets, and the ability to draw up complexity in syntaxially. It implies the ability to choose the desired, bright word in context, insert homogeneous members, isolation, comparison in your story. The selection of a figurative word or expression is a prerequisite for the correct and deep characteristics of the subject or phenomenon. Emotional attitude, noted B. M. Heat, is brought up with small: from elementary "like", "not like", "nice", "unpleasant" before mastering a number of aesthetic estimates.
N. A. Vetlugin allocated 3 stages, for the development of expressiveness of children's speech:
1. Tasks, giving installation to new for children. Methods of action: Sochini, invent, change. At this stage, children act together with the teacher, alone applying only elements of creative actions.
2. The applications that make children find new combinations based on old, already known solutions;
3. The following, performing which children themselves plan their activities from beginning to end, choose artistic agents.
O. S. Ushakov offered to use lexical exercises to select epithets, metaphor, comparisons, synonyms and antonyms that help children feel the beauty of the verse, to compare the non-elective and poetic language, develop their poetic hearing. Also one of the types of creative tasks is to draw up children's children - etudes about the nature and phenomena of nature.
V.A. Sukhomlinsky called such writings "Little writings about nature." He taught children to feel the nature and transmit his impressions in speech.
Story - Etude is a small story on the proposed topic, a kind of verbal sketch. The purpose of these stories is the development of the image and the accuracy of the language, the production of skills by several sentences to characterize the subject or phenomenon, to find the most expressive words to describe it.
Conditionally stories - Etudes are divided into groups:
Story - Etude, compiled during observation, excursions;
Story - etude about one or more objects of nature, composed during the conversation;
The story is an etude about one or more objects of nature, the compilation of which goes as an independent activity.
Compilation of stories - Etudes awakens the interest of children to the tongue. They always willingly learn to "invent beautiful stories", with pleasure pick up figurative expressions, insert them into talk speech.
Practice work, in the course of which familiarization of children with nature is used to develop logical thinking and connected speech, leads to the fact that the stories of senior preschoolers become accurate, clear, rather rich and diverse in language, emotional. Children seize with all kinds of descriptive story about nature.
As the knowledge of children expands, summarizing words appear in their stories ("Grachics - the first spring birds"), communion and verbalia ("burglar streams", "flourishing spring nature"), bright epitets and comparisons ("Dandelion like a sun, green sky And a lot of a lot of sun "). All this indicates the development of the ability to create enough to use the language to express their thoughts and feelings.
The development of the language imagery helps the child to the rhymed speech. In this regard, in the senior groups, it is advisable to give tasks more often: "I will come up with a riddle", "together come up with poems." So, in classes, considering any items of the teacher makes the riddles of them, and then invites children to come up with riddles.
Such classes are developing creative fantasy of children. As K. D. Ushinsky said, a logical thought in the child's soul is growing with a poetic manner, the development of the mind is going together with the development of feeling, the logical thought finds itself a poetic expression. The interest of children to the Metball, the bright word as if focusing.
In thoughtful work of the educator, intonation of children's speech changes, their posture during telling. The educator must teach children, to tell expressively, contact all the listeners. Along with the translucent and narrative intonations typical of the speech of children, the intrusion of reasoning, joy, loving, surprise appear. In the learning process, the nature of the behavior of students of listeners changes: they are attentive, concentrated, critical. When assessing the stories of comrades, their requirements for the content of the story, its reliability, clarity are complicated ("Everything invented, it does not happen," "I will not understand anything, very rushing"). Children follow the answer to correspond to the task of the teacher ("Tell me" tell you, "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 to the attitude of children to the very toll: gradually the preschoolers develop a sense of words and love for his native language.
Conclusion
Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary to teach children creative telling. It is known that the basis of creative telling is the process of processing and combining ideas, reflecting real reality, and the creation on this basis new images, actions, situations that have not previously had seats in direct perception. The only source of combinatorial activity of the imagination is the world around. Therefore, creative activity is directly dependent on the wealth and diversity of ideas, life experience giving material for fantasy. One of the conditions for the success of children in creative activity is the constant enrichment of the experience of children with impressions of life.
Communication with nature contributes to the development of creative speech activities of preschoolers. Knowing, watching nature and its phenomena, the child develops observation and curiosity, the vocabulary is replenished. Watching the nature, watching pictures about nature along with the educator, listening to his explanations, mandatory figurative, expressive, children perceive this beauty. Along with this, verbal creativity is developing, which is expressed in various forms: the composition of stories, fairy tales, descriptions; an essay of poems, mysteries, non-pieces; Lects (creating new words - neoplasms).
There is direct addictionbetween the development of the speech of children and their creativity. The very creativity is unthinkable without mastering the child, the richness of the language that speaks, thinks. Luggage knowledge in children must comply with the peculiarities of preschool age.
The development of creative speech activities arises in the senior preschool age when children appear a fairly large supply of knowledge about the environment, which can be the content of verbal creativity. But in order to have a child to express his thoughts and feelings, it is necessary to constantly enrich and intensify the dictionary.From this we conclude thatthe verbal creativity arises and develops where the targeted leadership of this activity exists, where all the conditions are created for this activity.
BIBLIOGRAPHY
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2.Bodych A.M. Methodology for the development of children / A.M. Borodich - M.:Education, 1988. - 256С.
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4. Vetlugin N.A. Artistic creativity in kindergarten / ed. ON THE. Vetryogina - M.: Enlightenment, 1974. - 284c.
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Kazarinova O. A. An image of nature as a means of developing the creative abilities of preschool children // Young scientist. - 2017. - №15. - P. 580-582
The development of speech in preschool childhood is a complex process in nature, since the developed human thinking is a speech, linguistic, verbal and logical thinking. It is a figurative, direct and alive in the event that the child is brought up in interest in language wealth, the ability to use a wide variety of expressive means in their speech. The development of figurative speech should be held in unity with other directions of work on the word - lexical, grammatical, phonetic. By how the child builds his statement, so interesting, vividly, figuratively knows how to tell and compose, one can judge the level of his speech development, about ownership of the richness of the native language and at the same time about the level of his mental, aesthetic and emotional development. Systematic tasks for the use of various means of artistic expressiveness, children are submitted to independent verbal creativity.
Tasks In the development of verbal creativity, children can be the most different: from the compilation of creative stories to word formation, from the organization of observations oriented to the figurative perception of the surrounding reality before inventing new stories about ...
At the age of 5-7 years, many children willingly play words, sounds, compound short poems, counters and just meaningless rhymes. The child actively masters the linguistic reality, learns grammatical rules and norms, mastering them in the process of practical use.
At the heart of the children's reticker, the forms of interaction between the child with adults are developed by the Company, the forms of children's activities. Having mastered the tongue, the child absorbs the sustainable traditions of the native language, learning retiring.
Rich vocabulary is a necessary condition for the subsequent development of the child's speech, in the course of which he learns to silence in the Word and fill the structural elements (roots, suffixes, consoles, endings), mastering the operating rules by them.
Owning methods of word formation implies the ability to find in subjects and phenomena essential for the name of communication and relationship, the ability to compare different names among themselves, to notice the common elements that carry the same meaning, they independently operate and evaluate accuracy, the correctness of the said or heard. There is also the essence of children's wordness that it gradually turns into internal ability to easily and quickly navigate in new words and even if necessary to create them. When you assimilate the methods of word formation, the most important task is to upbringing interest in the Word. Special speech games and exercises with grammatical content organized in kindergarten will benefit only if they are based on the experience of children, their knowledge and ideas about the surrounding. The circle of such knowledge is defined by the program of upbringing and training in kindergarten. The speech possession itself becomes a condition for the success of the practical and cognitive activity of the child, means of communication, thinking, self-organization.
In the older preschool age, the guys forms fine observation, sensitivity to expressive means of language. It makes it more accurate and figurative.
Artistic literature is of great importance in the education of man and however, it is one of the powerful means of development and enrichment of children's speech, it enriches the emotions of children. Listening to reading, told, children sympathize with the hero, worry with him adventures, adventures and victories. They indulge, indignant by negative characters, actions. The imagination of the child follows the course of the story, fairy tales and one after another draws pictures.
Children are experiencing the events described in the book as if they occur in front of their eyes; At the same time, the attitude of children to the facts, the heroes of the work is revealed.
His experiences, feelings, defined relationships, preschoolers express openly, directly - faithful, gestures, exclamations, replicas (for example, talk about characters: "So he needs" or "she is good, kind").
In a senior preschool age, children show great creative activity in artistic - speech activities.
This is expressed in the negative texts of the texts of affordable artistic works, in expressive reading of familiar poems, in their own writings - stories, fairy tales.
In the creative telling, the impressions of the reality and perceived by the child of art images are reflected. It is necessary to raise interest in children and love for artistic words, to works of children's literature and folk art: fairy tales, stories, verses; Create a desire to compose himself, tell other children's fairy tale.
PROGRAM
For children 7-10 years
The program amounted to: Cand. Ped. Sciences I.A. Kirhin
Kaliningrad 2014.
Explanatory note
Must be organized pedagogical medium
Basic goals :
Main goals:
First conceptual component
purpose
Third Basic Component - pedagogical conditions
- pedagogical environment -
- creative dialogue -
- clubware forms
The role of the teacher
The role of a child
The character of the motivation of the child
- only heart
Diagnosis of the result
Diagnostic methods
Educational and thematic plan
| № | Subject | Clock |
| 1. | ||
| 2. | Teamwork in picture | |
| 3. | Overall of mysteries | |
| 4. | Composition of story | |
| 5. | Creative told. | |
| 6. | Essay of patter | |
| 7. | Essay two | |
| 8. | Teamwork in picture | |
| 9. | Creative told | |
| 10. | ||
| 11. | ||
| 12. | Writing the basis of the script | |
| 13. | Writing fairy tales | |
| 14. | ||
| 15. | ||
| 16. | ||
| 17. | ||
| 18. | Writing poems | |
| 19. | Teamwork in picture | |
| 20. | ||
| 21. | TOTAL |
Writing mysteries.
1) verbal games: charaks;
2) reading Russian folk riddles;
3) emotional and practical training of children to the composition of mysteries;
4) the composition of the mysteries;
Composition of the story.
1) verbal games: literary reversals;
2) emotional and practical training for children to tell the picture;
3) reading stories E.Kuznetsova "Good word treats, and thin cripples", "quarreled";
4) elastic stories;
5) Task for the house: compose a story.
Overall pator.
1) Workout - Stage etudes: "We - Forest Beasts";
2) emotional and practical training of children to the writing of the patter;
3) reading Russian folk patters;
4) an essay of patter;
5) Discussion of the obtained works.
Essay two-befed.
1) verbal games: "Guess the letter";
2) emotional and practical training of children to the composition of the two-way;
3) reading two-befall b.zhoder;
4) an essay of the two-seater in pairs;
5) Discussion of the obtained works.
Treating in the picture.
1) verbal games: joke poems;
3) drawing up a descriptive story on the reproduction of I.Grabar "March"
4) an essay of a collective story in the picture;
5) Discussion of the obtained works.
Creative told.
1) verbal games: rebuses;
2) emotional and practical training of children;
3) reading the story of N.Nosov "Troops";
4) an essay of individual stories;
5) Discussion of the obtained works.
Composition of the story.
1) warm-up - scenic etudes;
2) emotional and practical training of children;
3) an elastic of stories in pairs;
4) reading the story of L. Tolstoy "Firefighters";
5) Discussion of the obtained works, comparison with the work of the master.
Writing the basis of the script.
1) warm-up - scenic etudes: "We are cats";
2) emotional and practical training of children;
3) an essay of scenarios in pairs;
4) playing children's scenarios;
5) Discussion of the obtained works.
Writing fairy tales.
6) verbal games: scanwords;
7) emotional and practical training of children;
8) Reading the fairy tale N. Kalinin "About the Snow Kalobok".
9) an essay of collective tale;
10) Discussion of the works received.
Writing poems.
1) Workout - Scenic etudes: "We are birds";
2) emotional and practical training of children;
3) reading poems A. Barto;
4) an essay of poems in pairs;
5) Discussion of the obtained works.
Treating in the picture.
1) verbal games: "Letters hid";
2) emotional and practical training of children;
3) showing the picture and drafting a descriptive story on reproduction A. Savrasova "Graci flew";
4) Discussion of the work received.
PROGRAM
additional education of children
Development of children's verbal creativity
For children 7-10 years
The program amounted to: Cand. Ped. Sciences I.A. Kirhin
Kaliningrad 2014.
Explanatory note
The basis for the program was the ideas of the School of Life S.A.Monashvili, as well as the following provisions:
Children's verbal creativity is a written or oral expression by the child of a subjectively significant verbal content for him, which has the following qualities: fantasy, sincerity, spending a word, a sense of humor and lyrism, relevance for the author.
For the development of children's verbal creativity, first of all, it is necessary to identify the needs of the child, the motives of its activity.
Must be organized pedagogical mediumin which these needs of the child will be satisfied. The pedagogical environment is a team of like-minded people consisting of teachers, parents and children in creative contact. This team carries out a single activity, which should cause strong positive emotions from the child, since only such emotions generate a bright image in the imagination. As a result of such activities, the child is invited to realize the resulting image (write, draw, play, image).
The pedagogical environment should cover all directions of the child's life, satisfy its physiological, moral, aesthetic and other needs. Only by creating a good baby life, we have the right to expect creative manifestations from it.
True creativity is possible only as a holistic lifestyle, as the general principle of a relationship system with a child, and not as a separate reception in the lesson - only in this case, creativity will become diverse and full. Therefore, the teacher must be able to take children's life with everything that there is in it, be able to participate in it, be able to earn love and respect for children. Only immersed in a similar way in children's life, the teacher will be able to identify the true needs of children and create conditions for their satisfaction.
The pedagogical environment, on the one hand, creates the conditions for the manifestation of the elemental creativity of children (horizontal level), on the other hand, saturates children with beautiful images, encouraging creative elements to rise up - to the heights of good, love and beauty (vertical level). The union of these levels of the pedagogical environment should be complete and equilibrated by the development of verbal creativity of children.
Basic goals :
Education of a noble man
Development of creative abilities;
Development of verbal and creative abilities;
Development of communicative abilities.
Main goals:
Captivate children with the joy of creativity;
Reveal their verbal and creative potential;
Create a creative children's team;
Create universal values \u200b\u200bto children.
Basic principles of pedagogical activities:
Close cooperation of teachers in unified activity;
Permanent self-improvement of each teacher (creative growth in the elected field of art, personal development, improvement of pedagogical qualities);
Informal relationship with children;
Creative dialogue of teachers with children.
First conceptual componentthe models make up a humane and personal approach developed by S.A. Amonashvili.
On the specified conceptual foundation, the second is built. verbal-creative componentwhich is a methodological support of the model. When creating a program for the verbal creativity of children, we relied on the development of V.A.levina, G.N. Kudina, Z.Novlyanskaya and A.A. Melik-Pashayeva, L.E. Streltsova and N.Damchenko, J. . Rodari.
purpose - Transform the game of art in communication with art. To do this, decide two rows of pedagogical tasks. The first row is aimed at preserving the properties inherent in children inherent in the preschooler: immediacy, emotional integrity and individual peculiarity of perception; Desire to play with artistic forms; The desire to act freely in the imaginary situation; The joy of art and the need for such classes.
The second row of tasks is aimed at ensuring the artistic development of the child. These tasks are solved by the association of two activities: the first is acquaintance with the children's classics, the second is their own creativity. This combination determines the successful development of children's verbal creativity.
Features of the performance of creative tasks:
Performed only voluntarily;
Performed in class or at home (at the request of the child);
The works of the child are read only with his consent;
The teacher performs tasks with children;
The creative works of the teacher are discussed on a par with the works of children.
Third Basic Component - pedagogical conditionsdevelopment of children's verbal creativity:
- pedagogical environment - a team consisting of teachers, parents and children in constant creative contact. This team carries out a single activity on the basis of a humane and personal approach (S.A. Amonashvili);
- creative dialogue - a specific type of communication, which is the discovery, expression and transmission by another personal meaning of phenomena in aesthetic form. The purpose of the verbal creative dialogue is to identify and develop their own speech style of the child;
- clubware forms - Live, flexible, efficiency, corresponding to the childhood activities (game, music, theater, visual art, modeling, etc.).
All components make up a single holistic pedagogical process in which the following characteristics can be distinguished:
The role of the teacher - Teacher at the position of the assistant inspiration.
The role of a child- Baby in the position of a free creative subject.
The character of the motivation of the child - mainly internal, individual motivation.
The subject of the educational efforts of the teacher - Inspiration of the child (the state of positively painted emotional and intellectual stress), filling it with the images of good, love and beauty.
The nature of the interactions of the teacher and child - Empathy, personal inclusion of the teacher and child.
Specificity of pedagogical exposure - only heart The teacher can touch and direct the development of the creative abilities of the child. The coarse pressure on the child or the teacher distorts the pedagogical process, so for the successful implementation of the goals, it is necessary as a basic condition for the careful and sensitive atmosphere.
Diagnosis of the result - Results in the form of products of children's verbal creativity are diagnosed.
Diagnostic methods: self-esteem, mutual estimation, method of expert assessments (carried out by qualified specialists in the field of literary creativity or teaching literature as art), conversation with parents and teachers. It should be borne in mind that it is impossible to expect significant success from each child immediately - a long process of maturation of creative abilities is needed.
Educational and thematic plan
| № | Subject | Clock |
| 1. | Creative told. "Talk by phone." | |
| 2. | Teamwork in picture | |
| 3. | Overall of mysteries | |
| 4. | Composition of story | |
| 5. | Creative told. | |
| 6. | Essay of patter | |
| 7. | Essay two | |
| 8. | Teamwork in picture | |
| 9. | Creative told | |
| 10. | Writing a detective story | |
| 11. | Composition of a multi-sieu history | |
| 12. | Writing the basis of the script | |
| 13. | Writing fairy tales | |
| 14. | Writing a humorous story | |
| 15. | Tying toy stories | |
| 16. | Composition of a satirical story | |
| 17. | Munhausen competition: "Invents of non-participation" | |
| 18. | Writing poems | |
| 19. | Teamwork in picture | |
| 20. | Writing a fairy tale on the cards I.proppa | |
| 21. | TOTAL |
One of the most affordable and pederofective means of forming at preschoolers of creative speech skills is called folklore, in particular, the folk tale.
For the development of a connected monoological speech, the formation of ideas about the composition of the story, the ability to associate proposals between themselves and part of the statements, use a variety of lexical and stylistic agents. However, the concept of "verbal creativity" is much wider than the "creative told", as it includes an active essay, inventing fairy tales, stories, poems, mysteries, scenarios not only in classes, but also in free independentactivities.
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Development of verbal creativity of preschoolers
E.Yu.Hagokhana - educator
(ANO to "Field of Childhood" Lada "DS № 187" Sunny ", G.O. Tolyatti)
One of the priority directions of pedagogical science at the present stage is the study of the creative activity of the child, the search for ways to form it. Psychologist studies The creative activity meets the needs and capabilities of the child, accompanied by the activity of its emotional and intellectual forces.
In studies devoted to the problem of verbal creativity, one of the most affordable and pederate funds of formation in preschoolers of creative speech skills is called folklore, in particular, the people's fairy tale (M.M. Konina, L.M. Pankratova, O.Soloviev, and others .). The authors note the evidence of the influence of individual elements of the fairy tale on the composition of children. At the same time, the studies are noted that the compliance of the specifics of the folk agents of the fairy tale features of the perception of children do not yet ensure the positive effects of folklore on the development of children's verbal creativity, the difficulties of children are associated both with meaningful (imitativeness, inexpressiveness of writings, but the logical content of the content) and the formal side statements (violation of the structure of the narration, limited use of stylistic means). Psychological prerequisites that determine the capabilities of children in the field of speech creativity, on the one hand, and difficulties arising from building a fabulous narration - on the other, are a problem that arises when organizing work with children in the development of verbal creativity of preschoolers.
In the domestic pedagogy, verbal creativity is considered as a diverse process: accumulation of impressions in the course of the knowledge of reality and creative processing of them in a verbal form (N.A. Vlugugina, O.S. Shushakov).
In a special study on learning creative telling, made by N. Yorlanova, the following training conditions are allocated to creative telling:
Enriching the experience of children;
The richness of the dictionary and the ability to use them;
Mastering the ability to connect to talk, knowledge of the structure of the story: the beginning, climax, the end;
The correct understanding of the children's instructions to "come up with".
The dynamics of development of children's creativity under the influence of training traces in its study S.K. Alexseeva. It justifies the following sequence of learning:
Stage 1: Teach children to subjugate their experience in a certain plan, draw the attention of children to the compositional language characteristics of the stories (enrichment of the life and literary experience of the child, familiarization with the language means of expressiveness, analysis of the composition of the work);
Stage 2: Determine the correct relationship between the desire of a child show yourself in creative activity and the ability to find suitable means to express your plan. To draw the attention of children to the assessment of the stories (inventing the beginning and end of the story, outlaw the situation in which there is an action, an independent artistic addition of stories);
3 Stage: To put the child before the need to act more consciously, more independently use the conditional ways of verbal creativity (independent selection of plot, composite and linguistic agents, a deeper analysis of the proposed works, familiarization with new linguistic means);
4 Stage: Improve the ability of children to combine and
convert received views and perceptions, outlines
action in the sequence of its logical connection.
To develop creative activities 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) holding special creative tasks, developing theatrical abilities of children (connection of movements with expressiveness of speech, facial expressions and gestures);
c) the active participation of children in the preparation of the scenario and the preparation of performances.
In preschool age, the child is capable not only to perceive artistic works, express its attitude to the characters, but also to comprehend their behavior, to generalize, analyze, experiment, and on this basis, create a new one for themselves and peers. The artistic imagination plays a special role.
K.D. Shushinsky has repeatedly emphasized the importance of the development of speech and abilities by means of art, starting with preschool age. It is not enough if children understand the content of the work, it is necessary to feel its expressive features of the expression and figurative words. In the future, they will deeper the literary works deeper, will learn to finely distinguish the semantic shades of the word and transfer them to their creativity.
Of course, for the development of a connected monoological speech, the formation of ideas about the composition of the story, the ability to associate proposals and part of the statements, use a variety of lexical and stylistic agents. However, the concept of "verbal creativity" is much wider than the "creative told", as it includes an active essay, inventing fairy tales, stories, poems, mysteries, scenarios not only in classes, but also in free independent
activities.
A sample of artistic text from the position of structural-semantic unity of the content and form is a folk magic fairy tale.
Numerous researchers of the folk fairy tale (V.A. Bakhtina, N.M. Verennikova, R.M. Volkov, N.V. Novikov, A.I.Nikiforov, E.V. Pomeransva, etc.) as a distinguishing sign of a magical fairy tale Call her magical fiction start. The unity of the magical and fantastic makes the magic fairy tale particularly attractive to the children's audience. A peculiar combination of real and fictional is the content of the magic fairy tale.
The style of a magic fairy tale is a unified system of interrelated techniques and means. Traditional linguistic forms are subject to the study of folk phraseology. The typical pharmaceutical fairytale poetics are primarily resistant verbal formulas, traditional formulas, poetic stamps that are an important element of building a fairy tale of a similar type (prompt, instill, ending and performing various functions in the narration.
Another stylistic admission of fairy tales is the use of permanent epithets serving the decoration of the work. The likelihood of using one or another combination in the 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 magic fairy tale are not actually fabulous, that is, they are fixed in other folk genres of the "violent head", "Kanenaya Arrow".
The traditional poetic agents of the magic fairy tale also include: the use of synonyms "with the topics and the wedding played in a good way, in bulk" and pair associations of words expressing one concept "Let's go with the bread-salt to meet, perhaps", the use of antonyms "no Nor of little time "or the strengthening of" Will-Neils had to agree ", the use of general-language proverbs and sayings" Pike of the East, but do not eat a tip from the tail ", the use of a variety of comparisons" Sell Ivan to Wolf. Wolf ran arrows "; The lexical and syntactic turns that form parallel syntactic designs "on the post is written:" In the right way to go - do not see the way, and the left road to go - there is no living. "
MMKonin allocates two types of children's works: creative processing of famous fairy tales and actually creative fairy tales and notes the presence of the characteristic features of the fairy tale (typical stories, wonderful transformations and elements of heroics, wonderful items, fabulous rituals).
In her opinion, "the development of children's verbal creativity is under the line of high-quality increments under the influence of the quantitative accumulation of new fabulous images."
The folk tale traditionally refers to the circle of "children's reading" and is one of the most beloved children of genres. The fairy tale has a huge impact on the moral and aesthetic development of the preschooler. Colorful, romantic image of a fabulous world, idealization of positive heroes, a mandatory happy ending, fascination, combined with patrimony - all this causes a bright aesthetic reaction in children, contributes to the development of aesthetic feelings. The magic fairy tale embodies the high ideals of the people, his wisdom. The dynamics of the magic fairy tale requires intelligent voltage, comparing the facts and events when assimilating the semantine line of the plot, i.e. excites cognitive activities.
To identify the peculiarities of perceiving the fairy tale by children of senior preschool age and to determine the level of verbal creativity to the connected speech of preschoolers, we used the Methodology O.S. Yuhakova, allocation of criteria and indicators.
Criteria
1. Perception of perception of fairy tales
Calling essential signs
Determining the content of the fairy tale
Selection of structural parts of the text
Preservation of language means of expressiveness
2. The benefitment of verbal creativity
The ability to subjugate the storyline of the general topic
Using the methods of disclosing the images of characters and features of the plot of the magic fairy tale
Ability to use different types of proposals
Ability to make a statement according to the laws of the Fairy Tale
Using expressiveness
3. Determination of the development of connected speech
Ability to identify the topic of statements and correctly reproduce its content
Ability to use different types of communication between suggestions
Use of different types of proposals.
First task. In order to determine the peculiarities of perception of a fairy tale in the unity of its content and artistic form, a fairy tale "Sister Alyonushka and Brother Ivanushka" was offered.
Second task. The situation "continue skate" was proposed to identify the level of verbal creativity.
Third task. Determining the level of development of connected speech was carried out on the example of the Gus-Swan fairy tales.
To enhance the motivation of the statement, various speech situations were used ("Talk about a fairy tale", "Tale by phone", "Sochin Fairy Tale"). The choice of fabulous material was determined by the requirements of the methodology for the development of speech to the selection of artistic works with the principles of pedagogy and aesthetics.
Incorrect responses of children were not deletion of fairy tales and stories.
The results of the diagnosis showed that children from the seventh year of life there is no clear idea of \u200b\u200bgenre features of the fairy tale, which, in our opinion, should affect the writings of children.
Understanding the children of the content of the fairy tale was determined by identifying the ability to recognize the topic of this statement. In the process of the survey, not a single case of a high level of understanding of the content requiring the child's presence of elementary skills for analyzing the work was found. Based on the results of the diagnosis were identifiedlevels of perception by children of the folk fairy tale.
I level (high). Determine the genre of fairy tales. Call its essential signs. The content of the fairy tale is generally determined. Seen the boundaries of the structural parts of the text. They seek to maintain language means of expressiveness.
II level (medium). The genre of fairy tale is correctly determined, but in the order of the argument, it is nominated both significant and formal signs. Determine the theme of the narrative. Often experienced difficulties in the exhaustion of the main parts of the composition. Use additional language tools.
III level (low). Difficult to determine the genre affiliation of the work and in identifying distinctive features of the fairy tale. Do not understand the content of the work. They do not see the boundaries between the string, the development of actions and the tale of the fairy tale. Do not distinguish the means of expressive fairy tales.
A prerequisite for verbal creativity of preschoolers are the formation of a coherent speech skills, therefore the purpose of the task 2 was to determine the level of development of a connected speech when reproducing the content of the fairy tale.
Criteria for retelling analysis Children became traditional in the method of development of speech Indicators:
- Understanding the topic
- Volume and Grammar Statement
- Vocabulary saying
- Means of communication
- The structural organization of each part
- The smoothness and independence of the presentation.
The data obtained allowed to determine the followinglevels of connected speech preschoolers.
I (high). Generally determine the topic of statements and correctly reproduce its content. Using various types of proposals, there are no grammatical errors. Use their exact words, a variety of ways of communication between proposals. Exactly make out a statement. Alone retells text without pauses.
II (medium). Determine the topic of statements. Adjust minor deviations from text. Lentally use complex proposals, single grammatical errors are possible. Contact individual means of language expressiveness. Methods of communication do not differ varieties. In the case of difficulties, they use a small amount of pauses and need additional matters.
III (low). Do not determine the topic of statements. Schematically transmit events without using means of expressiveness. Admit grammatical errors. When the content is transmitted, composite integrity violate. They do not know how to retell the text independently (they make pauses, repetitions, need prompts).
The task was asked for children: "Imagine that you are a storyteller and come up with a fairy tale with miracles and magic." No guidelines were given to the task. The compositions of children were recorded and considered for a number of indicators aimed at assessing both the content and the artistic form of the composition.
The second group of indicators amounted to some generally acceptedcriteria of creativity:
Fuge - the ability to produce a larger number of ideas expressed in verbal wording or drawings.
Flexibility - the ability to put forward a variety of ideas, move from one aspect of the problem to another, use a variety of strategies to solve problems.
Originality - the ability to nominate the idea.
Authenticity - compliance with the emotional reaction with the needs, values \u200b\u200band interests of the subject.
The results obtained during the task can serve as a basis for determininglevels of verbal creativity senior preschoolers.
I (high). Subordinate the storyline of the general topic. It is originally used in the composition of the techniques of disclosure of the images of characters and the features of the plot of the magic fairy tale. Contact traditional fairy-tale fine-expressive means.
II (medium). Try to stick to the chosen theme, the inaccurate selection of the header. Separate elements of fairy tale in writings with an independent plot and simple content. It is difficult in the structural decoration of the narrative (one of the parts of the composition is absent).
III (low). Basically, the themes are followed, but it is difficult in its disclosure, the name is absent. Schematically transmit the events of the narrative or retell without changing the famous fairy tale.
Analysis of the results showed a low level of development of the verbal creativity of children and made it possible to determine the ways of further work.
We have developed and tested the system of classes and games with the inclusion of a magical fairy tale, created situations for gaming improvisations and involvement of 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 senior preschoolers.
By definition of psychologists, creativity is activities,
as a result of which a person creates something new, original, showing imagination, realizing his intention, independently finding means for its incarnation.
The largest domestic scientist and psychologist L.S. Vygotsky gave the following definition. The concept of creative activity: "Creative activity we call such a person's activity that creates something new, anyway, whether there will be a creative activity of an external world or building a mind, or a sense that lives and detecting in the man itself" . In addition, he emphasized that "imagination does not repeat the impressions that accumulated before
and builds some new rows from previously accumulated impressions. The introduction of new things in our impressions and the change in these impressions so that as a result there is a new, previously not existing image. "
L.S. Vygotsky disclosed the mechanism of creating images of imagination: "The person accumulates the material from which his fantasy is consequeled. The following is a very complex process of processing this material. The most important components of this process are dissociation and association of perceived impressions. "
An analysis of psychological and pedagogical studies has shown that creativity is characterized by scientists with two main indicators: it should represent social value and give completely new products.
In order to determine whether children's creativity meets these indicators, it is necessary to refer to the research of psychologists (L.S. Vygotsky, B.M. Teplov, D. B. Elkonin) and teachers (N.A. Vetlugin, E.A. Fleina, A.E. Shibitskaya). They prove that creative activity meets the needs and capabilities of the child, accompanied by its emotional and intellectual activity,
and ensures the formation of methods for a single creative knowledge implemented in various activities
In the works of B.M. Teplova, A.V. Zaporozhets, L.A. Hungarian emphasized the leading role of upbringing, learning that determines the importance of pedagogical activities in the development of artistic and creative abilities. The transformation of the imagination into deliberate, purposeful - the task of the teacher, and at a certain work with it, the preschooler is formed by recreation imagination, the result of which is the creation of an image in accordance with the description, drawing, scheme, task. The image created by the child is always a personal education, therefore even the most elementary cognitive act leading
to create a subjective image, begins on the initiative of the subject, determined by its internal installations and emotions, i.e. Reflects his internally (L.A. Wenger).
Theheeva E.I. It emphasizes that by nature children's creativity is synthetic, often wears improvisational nature and makes it possible to fully judge individual manifestations and to identify them in a timely manner.
In the development of children's artistic creativity N.A. The veloga allocates three stages. At the first stage, the role of the teacher is
in the organization of those vital observations that affect children's creativity. If the child has to reflect the life impressions
in a fairy tale, a story, then it should be taught to a figurative vision of the surrounding
i.e. perception having aesthetic coloring. The figurative vision should be holistic: the child must consider the phenomenon is not isolated, but in its multilateral connections. This brings up his ability to find a relationship between various objects and phenomena. Observations of children help the development of combinatorial abilities. It is important that they realize that some phenomena can be changed.
and converted.
In the development of the perception of children, art plays a special role.
It helps the child is sharper to feel beautiful in life, enriches the world of his mental experiences, contributes to the birth of artistic images. This stage is preceded by creative activities, but the development of perception, the accumulation of art and life experience is closely related to the subsequent artistic and creative activities of children.
The second stage is the actual process of children's creativity.
It is directly related to the emergence of the plan, with the search for artistic agents. The process of children's creativity is not very deployed
in time. The creative act is "in one breath". The child gives a quick discharge to his feelings and, according to L.S. Vygotsky, "Create
in one reception. "
The role of the teacher is, according to a number of authors, in creating a joyful atmosphere, full of interesting, sometimes unexpected experiences, which is necessary for the successful implementation of the child's creative activity and ensuring the internal need of self-expression in creativity. It is important to ensure the variations of situations,
in which the child has to act, as it activates his mental activity. To form creativity, it is necessary to change the conditions from time to time, combine individual
and collective work. Special attention should be paid to the development of the objects of sensory survey of objects. The wider the orientation of children in a wide variety of properties of items
and phenomena, the more vitality and the more creativity will be their creativity.
So that the child eased and fluently express himself in creativity, he must own the simplest artistic agents. The task of the teacher is to help him in this.
The third (final) stage is characterized by the creation of new products. At this stage, the child begins to be interested in the quality of the products of his creativity and is experiencing aesthetic pleasure, seeking to give them a completeness. But the experiences of preschoolers will be even more fully, if he is convinced that his work is interesting not only to him, but also around. Therefore, the analysis of children's products conducted by a teacher is so important.
M.V. Fadeeva offers a system that will help determine the level of creativity and methods for the development of children's creative abilities. As criteria for this level, it calls such moments as the desire to choose from their own ideas or topics;
to express them with their own means; To organize their own methods. At the present stage, the search for the most effective ways and methods for the development of children's creativity are being searched.
So, the analysis of psychological and pedagogical literature on this issue showed that artistic creativity cannot be carried out without the participation of an adult who helps the child to create
and assumes the functions of criticism and partially creator, i.e. Functions inaccessible to the preschooler due to its age features
(N.A. Starodubova).
In the development of the artistic and creative abilities of children, upbringing and training plays a leading role. An adult teaches a child to special skills and skills that are the basis for the development of creativity.
Due to the lack of or bad learning, the "decline of creativity" occurs. Only with proper pedagogical guidance and training you can achieve high results.
The concept of "verbal creativity", according to the so-called. It is possible to apply to any occasion of creativity related to the word.
At the same time, it refers to two, albeit connected, but still fundamentally different areas: creativity in speech and creativity in the language. Speech creativity leads to the creation of a new speech product, i.e. new text, oral or written, any volume, in any form - prosaic, poetic, codified, free, monological, dialogic, etc. Unlike speech, with language creativity, processes that lead to transformation in the language system itself - both in a separate person and in the nationwide language
Studying the problem of developing verbal creativity of children due to the complexity and multifaceted nature of speech phenomena is closely in contact with the provisions of psychology, linguistics, psycholinguistics and pedagogy.
The psychological aspect includes the features of perception of the literary work (L.M. Gurovich, A.V. Zaporozhets,
N.S. Karpinskaya, O.I. Nikiforova, S.L. Slavina, O.I. Solovyov,
E.A. Fleerina, N.A. Civanuk) and the activities of the imagination of children
(L.A. Verger, L.S. Vygotsky, O.M. Dyachenko, S.L. Rubinstein,
MM Rybakova) as the foundations of speech creativity. The creation of a speech product occurs as a result of the processing of visual images - representations obtained during perception, and the transfer of selected combinations into the language of verbal signs, adequately reflecting the content of images.
As part of the linguistic approach, a coherent statement (text) is considered as a product of speech activity with its own internal structure and categorical features
(SI. Gindin, I.R. Galperin, T.M. Dridze, L.A. Kiseleva, L.M. Losev,
O.I. Moskalskaya, E.A. Referovskaya, G.Ya. Solgan).
In pedagogical studies devoted to the problem of the formation of verbal creativity, it is proved that creative speech activities are successfully implemented in senior preschool age under the influence and as a result of special training, which is the choice of funds (L.M. Vorosnina, E.P. Korotkov,
ON THE. Orlanova, O.N. Somakova, E.I. Tikeeva, O.S. Ushakova, E.A. Fleirina
other).
Cleaning creativity is a process associated with the general development of the child. There is a direct relationship between the development of the speech of children and their creativity. The very creativity is unthinkable without mastering the child, the richness of the language that speaks, thinks. Of course, this mastering we understand according to the peculiarities of preschool age.
In the domestic pedagogy, the problem of verbal creativity of preschoolers was considered in the works of E.I. Thaiyeva, N.C. Karpinskaya, O.S. Shushakova, etc.
In particular, in the study of O.S. Shushakova, the author shows how the development of poetic hearing affects the development of creative verbal activities of children, helping to raise the flair in children to his native word, susceptibility to the artistic literature, understanding the features of genres. And, most importantly, the poetic hearing helps children to move away the learned words and expressions to their writings, helps to realize the connection of the content of the literary work with its artistic form, more subtle the beauty of the artistic word.