Techniques of verbal drawing in literary reading lessons. Business speech and word picture
Verbal illustration in the classroom literary reading.
Illustration- reception creative work students, used in reading lessons, as well as when writing essays and presentations. Illustrations are taken ready-made, pre-selected, or created by the children themselves. Oral (verbal) drawing techniques are used. Verbal illustration (drawing)- this is a person’s ability to express his thoughts and feelings based on a read fairy tale, fable, story, poem. In no case should verbal drawing turn into a retelling of the work. I begin learning verbal drawing by creating genre (story) pictures. At the same time, we must remember that the verbal picture is static, the characters in it do not move, do not speak, they seem to be “frozen”, as if in a photograph, and do not act, as on the screen. At the first stage of teaching verbal drawing, it is advisable to use the so-called “dynamic” picture that gradually appears before the children’s eyes.
At the first stage of learning verbal drawing, a visual support is needed, for which you can use the so-called “dynamic” picture that gradually appears before the children’s eyes. Moreover, after the students verbally describe each detail of the drawing, any interior, or character, pictures corresponding to those just “drawn” orally are gradually attached to the demonstration sheet of paper. The arrangement of the elements of the picture is discussed with the children. Thus, as the work progresses, a complete picture of the episode is created, which serves as a visual support for the ideas that have arisen in the students’ imaginations. In addition, you can also use a demonstration manual of three sheets, which are attached one on top of the other to the board sequentially, and as the oral picture appears, they are revealed to the children.
At the next stage, you can use the following techniques:
An episode is selected for illustration and discussed in general outline plot future painting, the location of its main elements, color. A pencil sketch is made, then verbal description illustrations.
Children “draw” a picture with words, and then compare it with the corresponding illustration in a children’s book or in a textbook on literary reading.
At the following stages of teaching oral illustration, the following techniques are used:
1) an episode is selected for verbal drawing;
2) the place where the event occurs is “drawn”;
3) the characters are depicted;
4) the necessary details are added;
5) the contour drawing is “colored.” The work can be made more complicated due to the fact that “coloring” will be carried out along with “drawing”; secondly, when moving from collective form work to individual.
Only at the final stage of teaching oral illustration can children be asked to make their own, without visual support. word drawing to the text. (“There is no illustration in the textbook. Let’s try to create it ourselves.”) Verbal drawing (illustration) increases the emotional level of perception literary text. Usually verbal pictures are drawn for those episodes that are especially important for understanding ideological plan story. If the description is illustrated, then the most beautiful and at the same time accessible paintings for children are selected.
Verbal drawing of landscape illustrations is usually done to poetic texts. When working on a lyrical work, the technique of verbal drawing should be used with extreme caution, since when reading the lyrics, clear visual ideas should not arise, everything should not be expressed in detail, it cannot be specified poetic images, separating them.
References:
Goretsky V.G. and others. Literary reading lessons from textbooks “Native Speech”: Book. 1, 2, 3; Book for teachers. - M., 1995.
Nikiforova O.I. Psychology of perception fiction. - M., 1972.
http://www.pedagogyflow.ru/flowens-641-1.html
http://fullref.ru/job_cf28d84de3278e2be75ee32f39c7a012.html
Fragment of the lesson “Discoveries of new knowledge” on the topic “Balmont Konstantin Dmitrievich Poem “Autumn””
Target: create conditions for the development of expressive reading skills, assimilation by students literary device“personification” and teaching verbal drawing.
Develop communication skills during collective discussion of children’s performances
To develop the ability to evaluate one’s own knowledge and skills in literary reading
To develop the ability to orally evaluate the work of their classmates in the form of judgment and explanation
Meta-subject results
Regulatory universal learning activities:
Evaluate your own results educational activities using self-assessment sheets
Formulate the goal and objectives of educational activities using the teacher’s introductory dialogue
Realize and accept learning task
Cognitive universal educational activities:
Learn to formulate a learning task by answering questions problematic issue
Gain new knowledge: extract information presented in different forms(text, table, diagram, drawing, etc.)
Communicative universal educational activities:
Communicate your position to other people
Engage in educational collaboration with the teacher and classmates
Construct a conscious oral statement
Subject results
Learn to identify the main idea of a work and its mood
Learn to use the technique of personification.
Task "Word drawing".
| Word drawing | Let's imagine that we are artists. What colors will you choose for the drawing? (burgundy, blue, yellow) Find your clue words in the text. Describe your painting. Who will be the main character of our picture? (Autumn) How can you depict autumn? (In human form) What does the girl do in autumn? What facial expression? Sad or happy? Why? Why is the girl crying - autumn? What natural phenomenon did the poet want to depict under the girl’s tears? What colors will you choose for the drawing? Find clue words in the text. Divide into teams of 4 and discuss your paints. The lingonberries are ripening - burgundy, Blue sea - blue, The sun laughs less often - yellow, In a multi-colored dress - yellow, red, brown. Who main character in the picture? What will you draw around the Autumn girl? How does the poet feel about Autumn, who will soon cry? | Communicative UUD (teacher-student cooperation skills) Regulatory UUD (highlighting and awareness by students of what has already been mastered) |
An effective means of stimulating development creative imagination, enriching with inner visions, is oral description pictures that arise or should arise in the imagination of the reader who perceives work of art. Unfortunately, in the process of teaching expressive reading this technique is rarely used.
Work should begin not with children creating their own word drawings, but with analysis book illustrations, paintings. Part of the teacher organizes a comparison of illustrations and text. In this case, O. Kubasova offers the following tasks:
· · match the drawing (picture) to the text;
· · find in the text captions for each of the fragments of the picture plan;
· · compare a drawing (picture) and a fragment of text;
· · compare illustrations different artists to one literary work.
It is better to start learning verbal drawing by creating genre (story) pictures. At the same time, you need to remember that the verbal picture is static, the characters in it do not move, do not talk, they seem to be frozen, as if in a photograph.
At any stage of learning verbal drawing, the order of work will be the same.
1. An episode is highlighted for verbal drawing.
2. “The place where the event occurs is drawn.
3. The characters are depicted.
4. The necessary details are added.
5. The outline drawing is “colored”.
The complexity of the work is possible, firstly, due to the fact that “coloring” will be carried out along with “drawing”, secondly, in the transition from collective works to individual ones, when the student proposes one element of the illustration, the rest are adjusted if necessary.
Verbal drawing of landscape illustrations is usually done for poetic texts. When working on lyrical works This technique should be used with extreme caution, since when reading the lyrics, no clear visual ideas should arise, everything should not be expressed in detail, and poetic images cannot be specified.
Usually, after isolating the figurative picture created by the writer from the context, verbal drawing proceeds approximately along the following questions: “What should we draw in the foreground? Why? How does the author say both of these? What needs to be depicted nearby? What words help us see this? What haven’t we drawn yet?” Then the children pick up color scheme, special attention paying attention to the overall color of the picture, expressing the aesthetic experiences of the writer. Very important, according to O.V. Kubasova, is constant attention to the author's language, especially to epithets. (7)
Using this technique, the teacher himself must be ready to vividly paint a picture that is sometimes only hinted at in the text.
Another type of work has some similarities with verbal drawing - compiling a filmstrip.
A filmstrip is a series of verbal or graphic drawings, the content and order of which correspond to the sequence of events in the work, and each drawing is provided with titles (captions).
O.V. Kubasova suggests the following procedure for compiling a filmstrip. ()
2. Divide the text into parts (pictures, frames).
3. Highlight the “main” sentences in the first part (for captions).
4. Mentally imagine a picture for the first part of the text.
5. Orally “draw” a picture for the first frame.
6. Graphically depict the frame (to be done at will, not in class).
7. Based on the sentences highlighted in the text, make captions for the frame (orally or in writing).
8. Check the correspondence of the picture and titles.
9. Do similar work with each part of the drawing.
If the text contains dialogues, then you can use the technique of voicing frames.
Leading questions.
Whatever technique the teacher resorts to in the lesson, he uses the method of conversation, remembering that it should be lively and relaxed. In such a conversation, not only the teacher, but also the students ask, and not only the students, but also the teacher answers. The teacher responds with questions to children’s mistakes in reading, for example: “Is a pause needed here? Which? Which word in this phrase needs logical emphasis? What feeling does this phrase evoke? Why?".
Of course, the teacher resorts to conversation not only in cases where students make mistakes in reading. The teacher can move on to a conversation related to teaching expressive reading immediately after exemplary reading of the text. In this case, methodologist B.A. Buyalsky suggests thinking through and preparing a system of questions that are arranged approximately in this order.
Questions to help you understand the meaning readable text
Questions that encourage you to imagine the picture drawn by the author;
Questions that help determine the author’s attitude towards what he portrays, his feelings, moods;
Questions, the purpose of which is to find out the students’ attitude to the work;
Questions that encourage children to search for the best intonation options to reflect the feelings, thoughts, intentions of the author, as well as their personal experiences caused by the work.
Choral reading.
Choral reading has been part of school practice for a long time. K.D. Ushinsky also recommended it as a technique to help revive a tired and distracted class. Choral reading does not allow any student to remain passive.
Sometimes choral reading is confused with collective recitation. But these are not identical concepts. Unlike choral reading, which sounds in unison, collective recitation involves the performance different parts text by different performers and groups of performers. Choral reading has its advantages and disadvantages. According to B.A. Buyalsky, the disadvantages of choral reading are that “it smacks of “training from the voice” and not always justified monotone.” (8) To avoid this, B.S. is advised. Naydenov, T.F. Zavadskaya, “it is necessary to observe the correctness and expressiveness of choral reading.” (12) According to these methodologists, “there should be no inexpressive choral reading at school. Expressive choral reading will say something significant positive influence on the expressiveness of individual reading and the speech culture of students.” (11)
M.A. Rybnikova highly valued this technique. “Make an individual student read a poem - before the polyphonic reading and after such reading. The second performance, influenced by the sound of the text in the classroom, will also become more expressive for the individual student.” (24)
It should be noted one more of the shortcomings of choral reading, which T.F. highlights. Zavadskaya, - choral reading deprives the reader of individuality, subordinating it to the general choral sound, forcing him to imitate.
B.A. Buyalsky, on the contrary, sees in this some merit of choral reading. “Schoolchildren are known to admit that they feel how to read, but do not know how to read properly. Modest, shy students especially find it difficult to read “in front of everyone.” But in the choir they feel freer and read more confidently... the choir infects with a general enthusiasm, general mood, the tone that the teacher sets with his demonstration.” (18)
As you can see, the opinions of methodologists are quite contradictory, but still most of them are inclined to favor the benefits of this technique.
How should you organize work using choral reading in the lesson? B.A. Buyalsky proposes to organize it in the following order: (18)
1. Model reading of the passage by the teacher.
2. Reading by a student of average ability.
3. Marking (if necessary) the most difficult parts and texts with score signs.
4. Repeated reading of marked bars and links.
5. Repeated reading of the entire passage by one of these students, the reading of which (in the teacher’s opinion) will not require additional clarification or rework.
6. Repeated reading by the teacher, especially necessary if the student’s reading was unsuccessful.
7. A reminder from the teacher before the choral reading that one should not shout out so as not to disturb others.
During the lesson you can practice reading “small choirs” consisting of 5-8 best students. In order for participation in collective reading to bring greatest benefit, it should be completely conscious for every student. Each choir member must understand what he is expressing and how he achieves it. Therefore, choral reading must be preceded by detailed analysis works.
Reading in faces.
This technique M.A. Rybnikova attached great importance. She rightly noted that it sharpens attention to the hero’s speech and its specificity.
Reading in faces is practiced at the final stage of working on a text (most often fables), when students have figured out the characters characters, the lines of which they will pronounce, and imagine in what situations these words are pronounced.
Preparation for reading in the faces of B.A. Buyalsky, for example, suggests conducting it in the following sequence. (18)
1. Brief conversation, helping children fulfill or clarify the characteristics of the characters’ character and speech.
2. The teacher’s additions to the schoolchildren’s statements about the characters’ characters and a reminder that the performer of the role transforms into an image-character and during the performance he no longer addresses the listeners, but the partners.
3. Selective reading by students of some of the most difficult phrases (if necessary).
4. Teacher corrections to this reading (if necessary).
5. Self-preparation students to face reading (reading text with their eyes or in a low voice).
6. The teacher’s answers to questions that children may have during the preparation process.
7. Selection of performers, which can be organized either according to the principle of taking into account the inclinations of students (who is more suitable for which role), or according to the principle: each row or option is prepared to perform a specific role.
On initial stage In teaching expressive reading, the teacher, naturally, must give an example of intonation analysis, using the memo:
Correct reading in terms of grammar and spelling. diction.
Correct placement accents.
Fidelity in observing the length of pauses.
Selecting the exact reading pace.
Compliance with the melody of reading, that is, the movement of tone along sounds of different pitches (raising and lowering the voice).
Emotional reading.
An expression of the reader’s attitude towards what is being read.
At the same time, the teacher can make tasks easier by inviting one part of the class to make comments on pronunciation, another on semantic nuances, a third on reflecting feelings, and exchange these tasks to avoid monotony in the work of the class.
It is necessary to create conditions under which each student carefully monitors the students' reading. The teacher himself should constantly, with a pencil in hand, monitor the students’ reading, correct, guide and encourage them; talk first about the advantages, even if they are insignificant, and therefore about the disadvantages; explain why he likes or doesn’t like the student’s reading. The teacher and students, when correcting others, must ensure that the comments are specific, reasonable and friendly.
Reading by roles, both one and forms dramatization (staging), gives great value O.V. Kubasova. “There are forms of dramatization of varying complexity, which should be introduced gradually, becoming more and more complex, taking into account age capabilities children and lesson goals." (10) let us name the main forms of dramatization in order of increasing complexity:
Analysis of illustrations from the point of view of the expressiveness of facial expressions and pantomime of the characters depicted on them;
Staging individual (one person participates) and group (several people participate) “living pictures”;
Preparation and delivery of a separate line from the hero of the work with a focus on using not only intonation, but also plastic expressiveness (facial expressions, gestures, movements);
Reading by roles;
Dramatization of an expanded form.
Among the existing techniques and methods of teaching expressive reading, you can also highlight artistic (expressive) reading of prose And artistic storytelling.
Artistic storytelling is the free transmission of a work in the performance of which art is an example folk artists- storytellers. If schoolchildren master this technique, it will be easy for them to move on to artistic reading prose, that is, to the literal transmission of a prose work.
An important place in school should be occupied by the teacher’s work on developing students’ speech techniques: correct breathing, clear pronunciation and good sound vote. The teacher, whose speech should be a model for his students, must himself have good technique speech, constantly improve it and carry out targeted, systematic work with students in this direction. In most cases, you need to use exercises that allow you to simultaneously train breathing, diction and voice.
Thus, after analyzing methodological literature, we have identified quite a lot of different methods, techniques and types of work to develop expressive reading. Using all of the above methods and techniques, the teacher should take into account age characteristics children, their level of development necessary skills and skills, as well as your capabilities and program requirements.
In other forms of art and its techniques
Implementation method literary works
Sh an incisive analysis of a literary work is built on the laws of not only scientific, but also artistic creativity. Here we will talk about creative techniques for translating a literary text into other forms of art. These techniques allow you to express the reader’s position, form and develop the ability for figurative concretization and figurative generalization, and therefore they are relevant for elementary school.
Verbal drawing (oral and written) is a description of images or pictures that arose in the reader’s mind while reading a literary work. Word picture is called differently verbal illustration.
This technique is aimed primarily to develop the ability to concretize verbal images(imagination). In addition, the child’s speech and his logical thinking. When drawing verbally, the reader must, based on the verbal images created by the writer, detail your own vision in visual picture , which he reproduces and describes orally or in writing.
At the same time there appear two dangers: you can get lost on direct retelling the author's text, and with too active involuntary imagination “forget” about the author’s painting and start describing your own.
This reception requires a number of operations: read, imagine, specify, select exact words and expressions to describe, logically construct your statement. In addition, the technique involves describing the complex relationships of the characters in a static picture.
This technique directs children's attention to the text: they re-read its individual fragments, since only semantic and visual stylistic details will help them clarify verbal images, clarify them, and present what the author describes in detail. The student gradually “enters” the world of the work and begins see it through the eyes of the author or one of the characters(depending on whose point of view the picture is being recreated), i.e. joins the action, which means he will be able to complement the author’s picture with his own details. Then the result of the work, which is based on text analysis, will not be a retelling or a description divorced from the author’s intention, but creative picture, adequate to the author’s intention, but more detailed and necessarily emotional and evaluative.
Reception training leaks in several stages .
1. Looking at graphic illustrations. First, the teacher organizes observation of how the illustrator conveys the author's intention, which helps the artist create a mood and express his attitude towards the characters. In the process of this work, children become familiar with the concept of “picture composition”, with the meaning of colors, color, and line. This work can also be done in class. fine arts, and in class extracurricular reading.
2. Select from several illustration options most suitable for the episode of the work under consideration with the motivation for its decision.
3. Collective illustration using ready-made figures consists in the arrangement of characters (the composition of the picture), the choice of their poses, facial expressions.
4. Self-illustration the episode you liked and a verbal description of what you drew. This technique can be complicated by asking children to describe illustrations made by their classmates.
5. Analysis of illustrations made with a clear deviation from the text of the work. Children are offered illustrations in which the arrangement of characters or other images of the work is disturbed, some author’s details are missing or they have been replaced by others, the coloring is disturbed, the poses and facial expressions of the characters are distorted, etc. After viewing, the children compare their perception of the text with the perception of the illustration.
6. Collective oral drawing of illustrations- genre scenes. At this stage, children choose color scheme illustrations.
7. Independent graphic drawing landscape and its oral description or the artist's description of the landscape.
8. Verbal oral drawing of a landscape in detail text.
9. Collective oral detailed description hero in a specific episode(how you see the hero: what is happening or happened, the hero’s mood, his feelings, posture, hair, facial expression (eyes, lips), clothes, if this is important, etc.) The teacher helps the children create a description with questions.
10. Collective and independent verbal oral drawing of the hero first in one specific situation, and later - in different ones.
11. Independent verbal oral illustration and comparison of the created oral illustration with graphic.
Naturally, one can master the technique of verbal drawing only after one has mastered the basic skills of analyzing illustrations for a work. However, as a propaedeutic, already at the very first stages of studying literary works, it is advisable to ask children questions such as: “ What kind of hero do you imagine? ?», « How do you see the setting of the action?”, “What do you see when you read this text? » Etc.
Examples of organizing oral verbal drawing in the classroom:
Fragment of a lesson in 1st grade on a fairy tale « Porridge from an ax »
Stage of re-reading the text and its analysis
- Let's read the fairy tale to the end and observe how the soldier acted. Let's draw up a plan for his actions.
Children reread the fairy tale in parts, numbering the events with a pencil. Then the results of the work are discussed, and those written in advance on the board are opened. soldier's actions: noticed an axe; offered to cook porridge from an axe; asked to bring the boiler; I washed the ax, put it in the cauldron, poured water and put it on the fire; stirred and tasted; complained that there was no salt; salted it, tasted it, complained that it would be nice to add some grains; added cereals, stirred, tasted, praised and complained that it would be nice to add oil; added oil; I started eating porridge. We combine small actions into larger ones: planned to deceive the old woman; prepares the ax for cooking and begins to cook it; stirring and tasting, one after another asks for salt, cereals and butter; eats porridge.
Now let's watch how the old woman behaved in every moment we have.
- Has her mood and behavior changed? What are the reasons for these changes?
We invite children to imagine what illustrations can be made for this fairy tale? and describe the soldier and the old woman at each moment of the action (oral word drawing).
We help with questions:
- What background does the action take place against?? (Hut, furnishings in the hut, stove, utensils, etc.)
- Where does the soldier stand, how does he stand, where does he look?(on the old woman, in the cauldron, to the side, etc. .), what is he doing at this moment? What's his mood? What is he thinking about? What is his facial expression?
We propose to describe the old woman from the fairy tale “Porridge from an Ax” at different moments of the action. We help with similar guiding questions.
Then discussing the illustration in the reader(Fig. 13 V.O. Anikin. “Porridge from an ax”).
- Is it possible to determine which moment of the fairy tale was depicted by the artist V.O. Anikin? What helps (or, conversely, hinders) this?
Goals:
- formation of an idea about different styles speeches: business speech and verbal picture;
- training in use linguistic means taking into account the tasks and conditions of communication.
Russian language textbook “To the secrets of our language”, 2nd grade, authors M.S. Soloveichik, N.S. Kuzmenko.
PROGRESS OF THE LESSON
1. Updating knowledge
Note #1 opens on the board:
A forest giant appeared from the thicket of the forest. How beautiful he was against the white background of the birch forest! Huge horns. The legs are long and slender. He's all brown, and his legs look like they're wearing white stockings.
- Let's read it. Can you guess who this giant is?
– Determine the name of the entry. (Text)
– Prove that this is a text. (Several sentences that say the same thing and reveal the general idea)
Entry #2 opens:
Elk is a cloven-hoofed animal of the deer family. Length up to 3m, height up to 2m. Weight from 200 to 500 kg. Males have large spade-shaped horns. Females do not have horns. Lives in the forests of Eurasia and North America. The color is brown, with white stripes on the legs.
- Let's read it. Signal: text or no text. Prove that the text.
2. Identification of features of business speech and verbal picture
– Can we say that the two texts say the same thing?
– Did they talk about the moose in the same way in text No. 1 and text No. 2? (Differently.)
- Signal: in which text the speech is strict, businesslike. What is the speech in text No. 1? (Emotional.)
- Signal: in which text we see how the author relates to the one he is talking about. (In text No. 1) How does the author feel about the moose? (The author admires the animal.)
– And in text No. 2 you can understand whether he likes the elk or not? Why then did the author create text No. 2? (To tell us the exact scientific information about the moose. Tell us about it appearance, habitat.)
– For what purpose did the author create text No. 1? (To draw our attention to the beauty of this beast, to its greatness. The author paints a picture with words.)
-What picture did you see? (...) An illustration appears (Elk against the background of a birch forest)
So, one and the same thing can be said in different ways: you can say it in a businesslike manner (like a scientist), or you can paint it with words.
3. Work in groups
Students are given a table with empty cells and cards.
Your task is to determine which features are typical for business speech and which are typical for picturesque speech.
Check: fill out the table on the board.
4. Training in the use of language tools, taking into account the tasks and conditions of communication
– We will use the knowledge we have acquired about speech.
– You have two entries in front of you. Let's read it.
Text No. 1:
Here comes spring! This is noticeable in everything. The Earth took such a position relative to the Sun that it began to receive more heat and light. The air temperature increased by several degrees. Previously, the snowdrifts were soft, like snow. And now they have become prickly and crusty. The sky is blue - blue. There are drops ringing in the sun. Everyone is happy about spring. I'm very happy about her too.
Text No. 2:
March is the first month of spring. How the sun shines! The snow melted and began to melt. P.t.kli streams. I love spring!
– What unites these records? (These are texts. The texts talk about the first month of spring.)
– The author of text No. 1 should have draw with words early spring, and the author of text No. 2 should have tell it scientifically about the first month of spring. Do you think the authors coped with the assigned tasks? Are there “extra” sentences in the texts?
- We'll work in pairs: in each text, find “extra sentences” and, if possible, transfer them to another text.
Check: it turns out which sentences are “extra” and why. As a result of editing, the following texts are obtained:
Text No. 1:
Here comes spring! This is noticeable in everything. How the sun shines! Previously, the snowdrifts were soft, like snow. And now they have become prickly and crusty. The sky is blue - blue. There are drops ringing in the sun. Everyone is happy about spring. I'm very happy about her too!
Text No. 2:
March is the first month of spring. The Earth took such a position relative to the Sun that it began to receive more heat and light. The air temperature increased by several degrees. The snow melted and began to melt. P.t.kli streams.
5. Write down edited texts by solving spelling problems
Examination. What spellings? What actions did you perform to find out the required letters?
(Students evaluate their classmates’ answers with signals: agree-disagree)
6. Lesson summary. Reflection
– What discoveries did you make in class today? (You can speak in different ways: in a businesslike manner (like a scientist) or draw with words.)
Fill out the card.
– Today’s lesson was interesting...
- It was difficult in class today...
- I can praise myself...
