Features of the formation of children's verbal creativity. Verbal creativity of preschoolers study of verbal creativity creative activity
Development of imagination and verbal creativity in older children preschool age
MBDOU "Child Development Center - Kindergarten No. 178"
city of Cheboksary, Chuvash Republic
Verbal creativity is the most complex look creative activity of the child. The opportunity to develop creative speech activity arises in older preschool age, when children have a sufficiently large stock of knowledge about the world around them, children master complex shapes coherent speech, a developed vocabulary, they have the opportunity to act according to plan. Imagination, from previously reproductive, mechanically reproducing reality, turns into creative.
In older preschool age, the emotional and expressive function of speech becomes significantly enriched and complicated. The child learns the meaning of words expressing emotional condition, emotional attitude towards objects and phenomena, assimilates the meaning of words associated with the experiences of emotions, understands the meaning of words denoting socially significant characteristics of a person. At this age, the child’s assimilation of words occurs with a deeper and clearer distinction between signs, objects and phenomena.
One of the manifestations of creative imagination is children's verbal creativity. There are two types of word creation.
Firstly, these are the so-called new formations in inflection and word formation (children's neologisms). Secondly, this writing is an integral component of artistic and speech activity.
We all know that children love to compose fairy tales, stories, poems, and fantasize, and there is a tendency toward “obvious absurdities” and “reversals.” In “reversals” and fables, the child, through the imagination, “breaks” the connections between objects and phenomena, their constant signs, “moves away” from them, and then connects them into new combinations, “enters” the depicted circumstances, selects speech means to construct a coherent statement. In this way, stereotypically formed associations are “shattered”, thinking and imagination are activated. In a word, verbal creativity is understood as the productive activity of children, which arose under the influence of works of art and impressions from the surrounding life and is expressed in the creation oral essays– fairy tales, short stories, poems, fables, rhymes, etc.
With the help of verbal creativity, the child experiments with words and sentences, tries to change something, come up with something - in a word, create. He is interested in this activity, as it allows him to more fully understand his capabilities and replenish his luggage with something new. Verbal creativity enriches and develops thought, making it more logical and imaginative. A feeling of joy and satisfaction from what has been achieved, emotional tension makes oneself attractive creative process. Children's word creation is the most complex type of creative activity of a child.
According to many scientists, verbal creativity of older preschoolers can be developed taking into account the following factors:
One of the factors influencing the development of verbal creativity is the enrichment of children’s experience with impressions from life in the process of targeted observation of surrounding reality. Observing the work of adults, natural phenomena, can take different forms: watching movies, looking at paintings, albums, illustrations in books and magazines, etc. (In the process of observing nature, we note the aesthetic side, highlight the beauty of the natural world, note the colors. It would be good if, at the same time, we introduce how authors describe nature in their works, what expressions and words they use).
Enrichment is an important factor literary experience, reading various books, especially educational ones, which enrich children with new knowledge and ideas about the work of people, about the behavior and actions of children and adults, this deepens moral feelings and provides excellent examples literary language. Works of oral folk art contain a lot artistic techniques(allegory, dialogue, repetitions, personifications), attract with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary through definition words;
words that help describe experiences, character traits of characters.
For example, observing a winter landscape, children, with the help of a teacher, give various definitions of the qualities and conditions of snow: white, like cotton wool; slightly bluish undertree; sparkles, shimmers, sparkles, shines; fluffy, falls in flakes.
These words are then used in children's stories (“It was in winter, in last month winter, in February. When last time snow fell - white, fluffy - and everything fell on the roofs, on the trees, on the children, in large white flakes").
Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist). The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or fairy tale.
Development of a poetic ear, the ability to distinguish genres, understand their features, the ability to feel the components of an artistic form and to realize their functional connection with the content.
To develop verbal creativity, it is effective to use techniques that stimulate creativity, imagination and interest in children:
· coming up with the ending of a fairy tale started by the teacher, its beginning or middle,
· an essay using a subject-schematic model, a picture (this is a little more difficult, because the child must follow a certain algorithm).
· an essay on the topic using supporting words-mnemonic tables.
· creative storytelling literary example- with the replacement of heroes, the location of the action, or with the invention of a new plot with the same characters, and others.
Usage didactic games for the development of fantasy and imagination (“Funny rhymes.” Choose a rhyme: Candle - ... stove; pipes - ... lips; racket - ... pipette; boots - pies, etc. “Bring the object to life.” This game involves giving inanimate objects abilities and qualities of living beings, namely: the ability to move, think, feel, breathe, grow, rejoice, reproduce, joke, smile.
What living creature would you turn a balloon into?
What are your shoes thinking?
What does furniture think about?
· “collage from fairy tales.” Any heroes of fairy tales are selected (Vasilisa the Beautiful, Baba Yaga, Serpent Gorynych and Little Thumb) to independently compose a fairy tale (you can use any magic remedy, guiding questions for combining fragmentary episodes into a single composition.)
· compose a fairy tale about an unusual creature. (A butterfly that had transparent wings, but she wanted to have colorful wings like her friends).
· use of proverbs and sayings (Until recently, it was believed that it was difficult for preschoolers to understand figurative meaning proverbs and sayings. However, research has shown the inconsistency of this thesis. In order to help children understand the figurative meaning of small folklore, a fairy tale was selected where moral education was revealed with the help of an appropriate saying. For example, for the fairy tale “Teremok” “Rukavichka” the proverb was selected: “In cramped conditions, but do not be offended”, for the fairy tale “Zayushkina’s hut” the saying “Don’t have a hundred rubles, but have a hundred friends”).
Thus, the development of verbal creativity is a complex and dependent process that appears in direct connection with the development of mental processes, requiring the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.
People say: “Without imagination there is no consideration.”
Albert Einstein considered the ability to imagine superior to knowledge, because he believed that without imagination, discoveries cannot be made. A well-developed, bold, controlled imagination is an invaluable characteristic of original, out-of-the-box thinking.
Children subconsciously learn to think - through play. We must take advantage of this and develop imagination and fantasy from the very beginning. early childhood. Let children “invent their own bicycles.” Anyone who did not invent bicycles as a child will not be able to invent anything at all. It should be interesting to fantasize! Remember that play is always immeasurably more productive if we use it to put the child in pleasant situations that allow him to make heroic deeds and, listening to a fairy tale, see your future as fulfilling and promising. Then, while enjoying the game, the child will quickly master the ability to fantasize, and then the ability to imagine, and then to think rationally.
Verbal creativity is an effective means of developing a creative personality.
An adult, raising a child, must subtly and tactfully support the child's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the learning of creativity, since creativity itself can only develop in individual individuals.
Questions of creativity, its development and manifestation in humans worried the minds outstanding people over many years of human history.
Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore it is so important, according to Aristotle, already from early age teach children creativity, the ability to observe and understand people and their experiences. Proving that the imprint of the creator’s personality lies on his works, Aristotle not only gave examples of how different artists interpret the same subjects differently, but also proved the need to develop independence, activity and individuality when raising children, because otherwise, they will never become outstanding scientists and creators.
The nature of creativity is studied by philosophers, psychologists and teachers who study certain aspects of creative thinking and personality, based on the specifics of their sciences.
So, in philosophical dictionary the following definition of creativity is given: “Creativity is a process human activity, creating qualitatively new material and spiritual values.” In philosophy, creativity is a person’s ability, arising through work, to create from the material provided by reality (based on the knowledge of the laws of the objective world) a new reality that satisfies diverse social needs. In the process of creativity, all the spiritual powers of a person take part, including imagination, as well as the mastery acquired in training and practice, necessary for the implementation of a creative plan.
In pedagogical science, creativity is defined as “an activity aimed at creating a socially significant product that has an impact on the transformation of the environment.”
The significance of a child’s creativity is limited to creating something new for himself, and this determines the significance of creativity for the formation of personality.
Characterizing the creativity of children, the famous didact I.Ya. Lerner identified the following features of creative activity:
- 1- independent transfer of previously acquired knowledge to a new situation;
- 2 - vision of a new function of an object (object);
- 3 - vision of the problem in a standard situation;
- 4 - vision of the structure of the object;
- 5 - ability to make alternative solutions;
- 6 - combining previously known methods of activity into a new one.
I. Ya. Lerner argues that creativity can be taught, but this teaching is special, it is not similar to how knowledge and skills are taught. At the same time, creativity is impossible without acquiring certain knowledge and mastering skills and abilities.
By creativity, according to teachers, we should understand the very process of creating images of a fairy tale, story, game, etc., as well as methods and ways of solving problems (visual, gaming, verbal, musical).
The psychology of creativity studies the process psychological mechanism the course of the act of creativity as a characteristic of the individual. In psychology, creativity is studied in two directions:
- 1 - how mental process creating something new,
- 2 - as a set of personality properties that ensure its inclusion in this process.
A necessary element of creativity and human creative activity is imagination. It is expressed in the mood of the image of the products of labor and ensures the creation of a behavior program in cases where the problem situation is characterized by uncertainty.
Imagination, or fantasy, is one of the highest cognitive processes in which the specific human nature of activity is clearly revealed. Imagination allows you to imagine the result of a person’s work even before it begins.
Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections.
When characterizing imagination from the perspective of its mechanisms, it is necessary to emphasize that its essence is the process of transforming ideas, creating new images based on existing ones.
The synthesis of ideas in the processes of imagination is carried out in various forms:
- § agglutination - “gluing” of various parts, qualities;
- § hyperbolization - increasing or decreasing an object and changing the number of parts of an object or their displacement;
- § sharpening, emphasizing any features;
- § schematization - the ideas from which the fantasy image is constructed merge, differences are smoothed out, and similarities come to the fore;
- § typification - highlighting the essential, repeated in homogeneous facts and embodying them in a specific image.
In psychology, it is customary to distinguish between active and passive imagination. In the case when fantasy creates images that are not realized, outlines behavior programs that are not implemented and often cannot be implemented, passive imagination manifests itself. It can be intentional or unintentional. Images of fantasy, deliberately evoked, but not associated with the will aimed at bringing them to life, are called dreams. Unintentional imagination manifests itself when the activity of consciousness, the second signaling system, is weakened, during temporary inactivity of a person, in a semi-asleep state, in a state of passion, in sleep (dreams), in pathological disorders of consciousness (hallucinations), etc.
Active imagination can be creative and re-creative. Imagination, which is based on the creation of images that correspond to the description, is called recreating. Creative imagination involves self-creation new images that are realized in original and valuable products of activity. The creative imagination that arises in work remains an integral part of technical, artistic and any other creativity, taking the form of an active and purposeful operation of visual ideas in search of ways to satisfy needs.
In order to understand the psychological mechanism of imagination and related creative activity, it is necessary to clarify the connection that exists between fantasy and reality in human behavior. L.S. Vygotsky in his work “Imagination and Creativity in Childhood” identifies 4 forms of connection between imagination and reality.
The first form is that every creation of the imagination is always built from elements taken from reality and contained in man's previous experience. Imagination can create more and more degrees of combination, first combining the primary elements of reality, then secondarily combining fantasy images (mermaid, goblin, etc.). Here we can highlight the following pattern: “the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience is the material from which fantasy structures are created.”
The second form is a more complex connection between the finished product of fantasy and some complex phenomenon reality. This form of connection is only made possible through someone else's or social experience.
The third form is emotional connection. Fantasy images provide an internal language for a person’s feelings “This feeling selects elements of reality and combines them into a connection that is determined from within by our mood, and not from the outside, by the logic of these images themselves.” However, not only feelings influence imagination, but imagination also influences feeling. This influence can be called the “law of emotional reality of the imagination.”
The fourth form is that the construction of a fantasy can be something essentially new, which has not been in human experience and does not correspond to any really existing object. Having taken on material embodiment, this “crystallized” imagination becomes reality.
L.S. Vygotsky also describes in detail the psychological mechanism of creative imagination. This mechanism includes the selection of individual elements of an object, their change, the combination of changed elements into new holistic images, the systematization of these images and their “crystallization” in the subject embodiment.
O.M. Dyachenko identifies two types or two main directions in the development of imagination. Conventionally, they can be called “affective” and “cognitive” imagination. An analysis of the affective imagination can be found in the works of S. Freud and his followers, where it is indicated that imagination and creativity are an expression of unconscious conflicts that are directly related to the development of innate tendencies.
Cognitive imagination was studied by J. Piaget. In his research, imagination was associated with development symbolic function in a child and was considered as a special form of representative thinking that allows one to anticipate changes in reality.
O.M. Dyachenko characterizes these types of imagination and the stages of their development throughout preschool childhood.
Stage I - 2.5-3 years. There is a division of imagination into cognitive (the child, with the help of dolls, acts out some actions familiar to him and their possible options) and affective (the child plays out his experience).
Stage II - 4-5 years. The child learns social norms, rules and patterns of activity. Imagination involves a planning process that can be called stepwise. This, in turn, leads to the possibility of directed verbal creativity, when a child composes a fairy tale, stringing together events one after another. Cognitive imagination is associated with rapid development role playing game, drawing, designing. But without special guidance, it is mainly of a reproducing nature.
Stage III - 6-7 years. The child operates freely with basic patterns of behavior and activity.
Active imagination is also aimed at overcoming the received psycho-traumatic influences by repeatedly varying them in play, drawing and others. creative types activities. Cognitive imagination manifests itself in the child’s desire to look for techniques for conveying processed impressions.
It should also be emphasized that imagination, which is extremely important for the implementation and organization of activity, is itself formed in various types activity and subsides when the child stops acting. Throughout preschool childhood, there is a constant transformation of the child’s imagination from an activity that needs external support (primarily toys) into independent internal activity that allows for verbal (writing fairy tales, poems, stories) and artistic (drawings, crafts) creativity. The child’s imagination develops in connection with the acquisition of speech, and, consequently, in the process of communication with adults. Speech allows children to imagine objects they have never seen before.
Fantasy is an important condition for the normal development of a child’s personality; it is necessary for the free identification of his creative potential. K.I. Chukovsky in his book “From Two to Five” spoke about children’s imagination in its verbal manifestation. He very accurately noted the age (from two to five) when a child’s creativity is especially sparkling. Lack of confidence in the laws existing in the field of language “directs” the child to cognition, mastery, and modeling of existing connections and relationships in the surrounding world of sounds, colors, things and people.
K.I. Chukovsky defended the right of children to a fairy tale and proved the child’s ability to realistically understand the imagery of a fairy tale.
Fantasy is a necessary element of creative activity in art and literature. The most important feature of the imagination involved in the creative activity of an artist or writer is its significant emotionality. Image, situation, unexpected turn of the plot that arises in the writer’s head turns out to be passed through a kind of “enriching device”, which serves emotional sphere creative personality.
In any activity, two stages are absolutely necessary: setting a task (goal) and solving the problem - achieving the goal. In artistic creative activity, the idea by its very essence is the formulation of a creative task. Literary ideas, despite all their differences, are formulated in other types of activity. It's about the task of writing a work of fiction. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through one's work.
It should be noted that children are completely sincerely involved in literary works and live in this imaginary world. A child’s verbal creativity opens up richer opportunities for understanding the world and conveying his impressions, limiting the child’s actions to any technical techniques.
Issues of the formation of children's verbal creativity were studied by E.I. Tikheyeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole: it requires the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.
Verbal creativity is the most complex type of creative activity of a child. There is an element of creativity in any children's story. Therefore, the term “creative stories” is a conventional name for stories that children come up with themselves. The peculiarities of creative storytelling are that the child must independently come up with content (plot, imaginary characters), based on the topic and his past experience, and put it into the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. An equally difficult task is to convey your idea accurately, expressively and entertainingly. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from existing knowledge, introduce an element of fantasy into them and compose a creative story.
The basis of verbal creativity, notes O.S. Ushakov, lies in the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. She considers verbal creativity as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems. The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.
Children's verbal creativity is expressed in various forms: in writing stories, fairy tales, descriptions; in writing poems, riddles, fables; in word creation (creation of new words - new formations).
For the methodology of teaching creative storytelling, understanding the peculiarities of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process is of particular importance. ON THE. Vetlugina noted the legitimacy of extending the concept of “creativity” to the activities of a child, delimiting it with the word “children’s.” She identified three stages in the formation of children's artistic creativity.
At the first stage, experience is accumulated. The role of the teacher is to organize life observations that influence children's creativity. The child must be taught to visualize the surroundings (perception acquires an aesthetic coloring). Art plays a special role in enriching perception. Works of art help a child to feel more keenly the beauty in life and contribute to the emergence of artistic images in his creativity.
The second stage is the actual process of children's creativity, when an idea arises, a search begins artistic means. The process of children's creativity is not very developed in time. The emergence of a child’s idea is successful if an attitude towards new activity(let's make up a story). The presence of a plan encourages children to search for means of its implementation: searching for composition, highlighting the actions of heroes, choosing words, epithets. Creative tasks are of great importance here.
At the third stage it appears new products. The child is interested in its quality and strives to complete it, experiencing aesthetic pleasure. Therefore, an analysis of the results of creativity by adults and their interest are necessary. Analysis is also necessary for the formation of artistic taste.
Knowledge of the peculiarities of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.
1. One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with life impressions. This work may have different character depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books.
Reading books, especially educational ones, enriches children with new knowledge and ideas about the work of people, the behavior and actions of children and adults, aggravates moral feelings, and provides excellent examples of literary language. Works of oral creativity contain many artistic techniques (allegory, dialogue, repetition, personification), and attract attention with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
- 2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of vocabulary. Children need to replenish and activate their vocabulary through definition words; words that help describe experiences, character traits of characters. Therefore, the process of enriching children’s experience is closely related to the formation of new concepts, new vocabulary and the ability to use the existing vocabulary.
- 3. Creative story- a productive type of activity, its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, master the structure of a coherent statement, and know the composition of the narrative and description.
Children learn these skills at previous age stages, reproducing literary texts, writing descriptions of toys and paintings, inventing stories based on them. Particularly close to verbal creativity are stories about one toy, inventing the end and beginning of the episode depicted in the picture.
4. Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist).
The theme of creative stories should be connected with the general tasks of instilling in children a correct attitude towards life around them, instilling respect for elders, love for younger ones, friendship and camaraderie. The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or fairy tale.
In the methodology of speech development, there is no strict classification of creative stories, but the following types can be roughly distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with a literary image (two options: replacing heroes while preserving the plot; changing the plot while preserving the heroes). Most often, children create contaminated texts because it is difficult for them to give a description without including an action, and the description is combined with the plot action.
Techniques for teaching creative storytelling depend on the children’s skills, learning objectives, and type of story.
In the senior group as preparatory stage You can use the simplest technique of telling children together with the teacher about the issues. A topic is proposed, questions are asked, to which the children come up with an answer as they pose them. At the end, a story is compiled from the best answers. Essentially, the teacher “composes” together with the children.
In a preparatory school group, the tasks of teaching creative storytelling become more complex (the ability to clearly build a storyline, use means of communication, and be aware of the structural organization of the text). All types of creative stories and different teaching methods with gradual complication are used.
The easiest thing is considered to be coming up with a continuation and completion of the story. The teacher gives a sample that contains the plot and determines the path for the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, and the setting in which the action takes place.
Ancillary questions, according to L.A. Penevskaya, are one of the methods of actively guiding creative storytelling, making it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.
A plan in the form of questions helps to focus children's attention on the consistency and completeness of the development of the plot. For a plan, it is advisable to use 3-4 questions; a larger number of them leads to excessive detail of actions and descriptions. What can hinder the independence of a child’s plan? During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story.
A more complex technique is storytelling based on the plot proposed by the teacher. (The teacher put in front of the children learning task. He motivated her, suggested a theme, a plot, and named the main characters. Children must come up with content, formalize it verbally in the form of a narrative, and arrange it in a certain sequence).
Coming up with a story on an independently developed topic is the most difficult task. The use of this technique is possible if children have basic knowledge about the structure of the narrative and means of intratextual communication, as well as the ability to title their story. The teacher advises what a story can be written about, invites the child to come up with a name for the future story and draw up a plan.
Learning the ability to invent fairy tales begins with introducing elements of fantasy into realistic plots.
At first, it is better to limit fairy tales to stories about animals: “What Happened to the Hedgehog in the Forest,” “The Adventures of the Wolf,” “The Wolf and the Hare.” It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But a certain level of knowledge about the habits of animals and their appearance is required. Therefore, learning the ability to invent fairy tales about animals is accompanied by looking at toys, paintings, and watching filmstrips.
Reading and telling short stories and fairy tales to children helps to draw attention to the form and structure of the work, and to emphasize the interesting fact revealed in it. This has a positive effect on the quality of children's stories and fairy tales.
The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, the stock of well-known fairy tales is activated in the speech activity of preschoolers in order to assimilate their content, images and plots. At the second stage, under the guidance of the teacher, an analysis of the scheme for constructing a fairy tale narrative and plot development (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writings. The teacher turns to methods of joint creativity: chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, begins the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of fairy tale narration is activated: children are asked to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters.
In Gianni Rodari's book The Grammar of Fantasy. "Introduction to the Art of Storytelling" talks about some ways to create stories for children and how to help children create their own. The book’s author’s recommendations are also used in Russian kindergartens.
The most common technique is the game “What would happen if...”, where children are asked to find a solution to a certain situation.
“Old games” - note-taking games with questions and answers. It begins with a series of questions that outline in advance a certain pattern, the end of the story.
Sample questions:
- § Who was that?
- § Where is it?
- § What did you do?
- § What did you say?
- § What did the people say?
- § How did it all end?
Children's answers are read aloud as a continuous story.
“The technique of nonsense” is the writing of absurdities, fables, “twists” in two lines.
“Making a limerick” is a variant of organized and legalized nonsense. The structure of a limerick could be as follows:
- 1. Choosing a hero.
- 2. Its characteristics.
- 3, 4. Implementation of the predicate (performing an action).
- 5. The final epithet characterizing the hero.
The use of these techniques will successfully affect the development of verbal creativity in preschool children.
32. The concept of verbal creativity.
LITERATURE Creativity expressed in words, both oral and written, verbal creativity. Theory of literature.
Artistic literary creativity and verbal folklore ( book.). Graceful With. (an obsolete name for fiction).
Literature and literature.
There is no need to make a strict distinction between these two terms, and one can almost always use both in the same way. If we still look for the difference in their meaning, then we will classify the first as written works, and the other as oral. It's more correct to say folk literature than about folk literature. The people are implementing exactly oral creativity: From generation to generation, fairy tales, songs, epics, proverbs pass from mouth to mouth - everything that can be combined under the name of literature. "Literature" comes from the Latin word litera, which means letter, letter, inscription; It is already clear from this that literature is verbal creativity, imprinted and enshrined in writing. A combination like theory literature, more common than the combination theory literature ; This means that the concept of literature is broader than the concept of literature. And above both of them the concept of the word rises. Of course, not every word is literature: in order to become it, it must be artistic. But, on the other hand, the service word, the one we use and exchange with others in our community, the word useful, practical - it also has an element of artistry in it. That is why it is not easy to draw the line where the word ends and where literature begins. The very material from which literature is created is itself literary. In a certain sense, everyone who speaks is thereby already a wordsmith, a writer, because our words bear the imprint of creativity and represent phenomena of an artistic order: they are figurative, picturesque, sonorous. The gift of speech is the gift of literature. And yet, from the infinite number of words that have not echoed in time, but have left a mark in the memory of mankind, it is necessary, of course, to single out those that represent literature, literature, and art. Broadly speaking, literature is the totality of all works of human thought, enshrined in the word - whether oral or written; but usually when they say literature or literature , then before these nouns an adjective is implied artistic. And therefore, not every verbal monument deserves to be studied in a course on the history of literature: “The Tale of Igor’s Campaign” is literature, “The Teachings of Vladimir Monomakh” is not. Truth, term literature apply not only to works of art: there is also scientific literature, and you can hear such an expression as literature subject when they mean a list of books or articles devoted to a particular issue. It is interesting to note that the Russian word literature almost replaced by a foreign word literature : to such an extent the latter has entered the system of our speech and received the right of citizenship in it. They say: study literature; However, it has been preserved - teacher literature and several similar expressions. What literature prevails over literature, this is so understandable: after all, in our time it is not so much the people who create verbally, but the individual, - and personal, individual creativity hastens to express itself in writing, in print - in literature.
33.Cultural eras of primitiveness, the main characteristics of the Paleolithic and Mesolithic culture. The era of primitive culture is the longest in the history of mankind, and according to archaeological periodization (based on the material from which tools and weapons were made) includes the following main stages of development: Stone Age (40 thousand years - 4 thousand years BC. ) - Paleolithic, Mesolithic, Neolithic - characterized by primitive stone tools, the construction of the first boats, rock paintings, reliefs and round sculptures Hunting and gathering as a way of life of the Paleolithic by 12-8 thousand BC. e. are replaced by livestock breeding, a sedentary lifestyle, and the appearance of bows and arrows (Mesolithic). In the period from 9-4 thousand BC. e. in life primitive society cattle breeding and agriculture are being established, stone processing techniques are being improved; the Bronze Age (3-2 thousand BC) separated crafts from agriculture and led to the creation of the first class states; The Iron Age (1st millennium BC) accelerated the heterogeneous development of world culture. Features of the Paleolithic. Development is not uniform, which is largely influenced by climate change. One of the features of primitiveness is the low number and density of population, because even in a landscape rich in resources, demographic capacity is limited. During this era, a developed communal system of life was created, in which the initial social molecule was a small family (5-6 people). Small families united, forming camps and settlements that could consist of 4-5 dwellings, located on an area of 700-1500 m2. They had one long-term focus. Near the dwelling there were production sites and utility pits. Prehistoric societies were socially homogeneous, and the main form of division of labor was the division of activities between men and women. The economic strategy of Paleolithic society was aimed mainly at hunting activities and the sustainability of food chains. There was selective hunting and seasonality of hunting cycles, as evidenced by multi-layered long-term sites (Kostenki on the Don is an excellent example of this) and many seasonal settlements. In the Franco-Cantabrian zone and on the Russian Plain, mammoths, woolly rhinoceroses, reindeer, and wild horses were hunted, but round-up hunting for mammoth dominated. In the Urals and the Caucasus, hunting for the cave bear prevailed, in Central Asia and Altai - for mountain goats, in the steppe zone of Europe (for example, the Amvrosievka site near Donetsk in Ukraine) - round-up hunting for bison, similar to the Paleo-Indian bison hunting in the southwest of the USA. The economic strategy also included gathering, focused on local plant species. For hunting, they used slingshots, spears and darts equipped with hard silicon tips, as well as various remote weapons - spear throwers and harpoons made of hard wood and bone. As noted, the dwellings were large, light and warm caves with powerful cultural layers. . The widespread use of mammoth bones in combination with wood and stone is characteristic of the entire periglacial zone of Eurasia. Upper Paleolithic houses had an oval or oblong shape; sometimes these were half-dugouts, covered with a frame of tusks, poles, skins; inside there were hearths lined with stone slabs, and around there were utility pits for storing tools, supplies of raw materials, food, etc. Light portable dwelling- bivouacs. At this time, there were specialized industries with a variety of effective tools: large and small scrapers, burins, stones for softening and polishing skins, bone piercings, needles with an eye, special “work tables” for kneading skins and belts, etc. The clothing complex included analogues of capes or cloaks. As for household utensils, these were wickerwork, wood, bone and stone utensils. The spiritual culture of Paleolithic society is characterized by a certain level of complexity. Researchers associate the presence of early forms of religion (magic, totemism, animism) with burial rituals of animals and people, with images of supernatural beings. An image of a “sorcerer” from the Trois Freres cave, a drawing of a bison man from the Chauvet cave in France, a bone figurine of a lion man from Holenstein Stadel in Germany. The art of that time was an organic part of a syncretic, undivided cultural complex, and not an independent sphere. The structure of the art world (morphology) included two main categories of monuments. This is colorful monumental art represented by paintings and engravings on cave walls, also called petroglyphs (rock paintings). The second category is mobile art, or art of small forms (portable), represented by a wide range of bone carvings, engravings and drawings on pebbles, ornamented tiles, decorations and sculptural works. The main place in art was occupied by images of animals. The beast, apparently, was not only food for the people of that time, but also an ancestor, friend, enemy, victim and deity. Images of Paleolithic people were embodied mainly in sculptural works and, less commonly, in engravings on bone and antler. Plastic art consists mainly of female figurines, made mainly from mammoth tusks, and in some cases from stone and baked clay (terracotta)2. Figures of naked, curvaceous ladies emphasizing the genetic functions of the “sacral” nature of women are called “Paleolithic Venuses.” Images of men are extremely rare. Ornamental geometric art became widespread in Stone Age culture. It is found in all areas of the Upper Paleolithic ecumene, but is most characteristic of the Russian Plain and Siberia. Musical and dance art, recitation, probably arose neither earlier nor later than the visual and architectural arts. the existence of pantomime and round dances is confirmed by some cave paintings in Eurasia. Musical instruments (flutes and percussion instruments) have been found in a number of Paleolithic sites. Features of Mesolithic culture. During the Mesolithic period of prehistory, the glacier melted and retreated. Huge areas of the Earth were swallowed up by the waters of the world's oceans, the mammoth fauna and other species of large game animals disappeared, and the descendants of the Cro-Magnons lost their traditional habitats and hunting grounds. They survived one of the largest environmental disasters. The population size and density increased during this time; the intensification of the appropriating economy occurred; increased use natural resources, and the methods of obtaining them have acquired more diverse and sophisticated features. New hunting strategies were aimed at hunting mountain, forest and steppe ungulates (elk, deer, wild boar, goat, etc.), and therefore remote weapons - bows and arrows with flint tips - began to be widely and effectively used. A specialized marine fishery is emerging on the sea coasts. A very important achievement in the sphere of economic culture was domestication - the domestication of wild animals (sheep, dogs, etc.). People move to open spaces, build half-dugouts and squat dwellings from local raw materials. the appearance of extraordinary dynamics in multi-figure images of animals. Along with animals, the compositions now include people - men and women. Male images are beginning to dominate in art. Most often - a group of archers hunting for a fleeing animal. All images are schematized, deformation appears in the image of the human figure, and the concreteness of “primitive naturalism” disappears. Geometric ornamentation in products made of stone, bone, wood, and clay is spreading in all regions of the world. In this time, shorter than in the Paleolithic, humanity accumulated strength for a new historical breakthrough in cultural achievements associated with the Neolithic revolution.
1:The article shows the importance of organizing verbal creativity in a modern preschool institution. The subject of the study is the process of development of verbal creativity of older preschool children through their composing of fairy tales about animals. The goal is to describe the content of the work aimed at the effective development of verbal creativity in preschoolers. Verbal creativity is considered in in the narrow sense– preschoolers creating their own fairy tales. The basis of verbal creativity of children of senior preschool age is determined - a folklore work (Russian folk tale about animals). The advantage of using children's fairy tales about animals for the purpose of developing children's verbal creativity is shown. Data presented diagnostic technique to identify the level of development of the ability to compose fairy tales by preschoolers; an analysis of children's creative works is given; The reasons for errors and omissions are indicated. The content of the work on the development of children's verbal creativity is presented in three stages: replenishing children's knowledge with new fairy tales; compositional and linguistic analysis of fairy tales; the process of children creating their own fairy tales. The pedagogical techniques with the help of which the development of verbal creativity of older preschool children is realized are listed. The sequence of gradual introduction of types of creative work in classes on speech development with preschoolers is described. The author used the author's techniques known in the methodology, but proposed their own interpretation. The given example of a lesson fragment shows the verbal activity of preschoolers: selecting words according to their meaning, characterizing the hero, determining the sequence of action, continuing the story. Examples of children's creative works are given. The materials of the article can be used by methodologists and practicing teachers in the educational process of a preschool organization.
writing fairy tales
fairy tales about animals
verbal creativity
senior preschooler
1. Tannikova E.B. Formation of speech creativity in preschool children (learning to write fairy tales). - M.: TC Sfera, 2008. - 45 p.
2. Gurova I.V. Technology of teaching children of senior preschool age to compose fairy tales // Samara Scientific Bulletin. - 2013. - No. 4 (5). - P. 63-65.
3. Ushakova O.S. Development of verbal creativity of children 6-7 years old // Preschool education. - 2014. - No. 5. - P. 18-29.
4. Nikolaeva N.A., Eryshova Yu.V., Generalova O.M., Korneeva M.P. Development of speech of senior preschool children through verbal creativity // Current issues of modern pedagogy. - Samara: ASGARD, 2016. - pp. 86-89.
5. Litvintseva L.A. A fairy tale as a means of educating a preschooler. Using fairy tale therapy techniques. - SPb.: DETSTVO-PRESS, 2010. - 144 p.
6. Serkova M. Journey into a fairy tale / M. Serkova, O. Malysheva // Preschool education. - 2016. - No. 12. - P. 48-50.
7. Propp V.Ya. Russian fairy tale. - M.: Labyrinth, 2000. – 416 p.
8. Glukhov V.P. Formation of coherent speech in preschool children with general speech underdevelopment. - M.: ARKTI, 2002. - 144 p.
Issues of development of verbal creativity of preschoolers form the basis of the process of teaching and upbringing. The Federal State Educational Standard for Preschool Education (FSES DO) highlights educational field“Speech development”, which includes the formation of the ability to compose fairy tales through the following components: to be able to speak as a means of communication and culture, to have an active vocabulary, grammatically correct monologue speech, know works of children's literature. Particular importance in the methodology of speech development for preschoolers is given to teaching the composition of fairy tales by E.B. Tannikova, I.V. Gurova, O.S. Ushakova and others. In their research, N.A. quite widely revealed the possibilities of using fairy tales in the education system of preschoolers. Nikolaeva, L.A. Litvintseva and others.
Purpose of the study: to describe the content of the work, which, in our opinion, will contribute to the development of verbal creativity of preschoolers through the creation of fairy tales.
The research material was theoretical works methodologists on this issue, as well as creative works of children of senior preschool age.
Methods: theoretical analysis methodological literature on the research problem, observation, pedagogical experiment, mathematical data processing.
Tales about animals are fertile material for the development of verbal creativity. Tales about animals are widely used in circles children's reading. As you know, these tales are small in volume. They have a small number of characters (2-4), and one plot action is considered. The duration of the action is indicated by a system of repetitions, although repetitions are not necessary in this type of tale. In these tales certain qualities characters are assigned to each hero: cowardice - a hare, cunning - a fox, greed - a wolf, etc. Such fairy tales are characterized by a convergence of mutually exclusive phenomena that violate traditional ideas, which is what creates fiction: the wolf chops wood, bakes pancakes; the hare is crying, etc. From the point of view of composition, a fairy tale can be built as one plot action (“The Fox and the Black Grouse,” “Sheep, Fox and Wolf”), several actions (“The Wolf is a Fool,” “Old Bread and Salt is Forgotten”) or a series of repeating episodes (“ Teremok").
The development of verbal creativity involves long-term, purposeful work with preschoolers. Serkova M. classified children's essays about animals as follows: 1) creative essay based on a picture; 2) contamination on the themes of works of art; 3) free essay fairy tales
In this article we will demonstrate the content of the work, which, in our opinion, will contribute to the development of verbal creativity of preschoolers through the creation of fairy tales. Before starting specialized training, we suggest conducting a diagnostic examination of the ability to compose fairy tales in preschoolers. Direct training takes place in three stages. At the first stage, it is necessary to activate the stock of famous Russian folk tales in children’s speech activity and continue to enrich this stock. The main techniques of work will be listening, telling and retelling fairy tales. At the second stage, under the guidance of the teacher, an analysis of the principles of the traditional construction of a fairy tale narrative and plot development takes place: repetition, chain composition, the technique “from big to small” and “from small to big,” traditional beginning and ending. It is also necessary to draw children's attention to the linguistic basis of the fairy tale (constant epithets, repetitions, abundance of action words). The teacher encourages children to use these techniques in their own compositions. At the third stage, collective and independent composing of a fairy tale is activated. The teacher offers the children tasks with gradual complication: continue the started fairy tale, come up with a fairy tale based on the theme and characters; choose your own theme, characters, plot, etc.
When guiding the process of developing the ability to compose fairy tales, the teacher uses a variety of methods and techniques. Preference should be given to active pedagogical techniques that ensure the creation of your own literary works, including fairy tales. E.B. Tannikova proposes a method of teaching children of senior preschool age to write fairy tales - familiar characters in new circumstances. Modeling the plots of fairy tales according to V.Ya. Proppu helps preschoolers understand the antithesis characteristic of fairy tales: characters (evil/kind, smart/stupid); location (palace/hut); events (prohibition/violation of prohibition). Modeling helps children remember similar actions and the order in which characters appear.
Research results. Experienced work on developing the ability to write fairy tales in children of senior preschool age was carried out on the basis of the MBDOU " Kindergarten No. 102" Orenburg. 10 older preschoolers aged 5-6 years took part in this work. When conducting diagnostics, we told the children the beginning of the fairy tale and invited them to come up with its ending, “The Tale of the Good Hare” (author L.V. Voroshnina).
Fairy tale text. Once upon a time there lived a hare and a hare. They huddled in a small dilapidated hut at the edge of the forest. One day the hare went to pick mushrooms and berries. I collected a whole bag of mushrooms and a basket of berries.
Research results and discussion. An analysis of the ending of a fairy tale invented by children showed that 70% of children of senior preschool age composed the ending of the proposed fairy tale based on leading questions; the beginning of the plot turned out to be a fairy tale. In most of the works, the tale is extremely poor in content and “schematic”; continued as planned, but not completed. The fairy tales written by the children did not have a denouement; the children mainly used plots familiar to them, without adding anything new to them; here is an example of the continuation of the fairy tale text: And the hare immediately went home. A hare was waiting for him at home, they ate and went to bed.
For some preschoolers, the fairy tale did not work out (30%). Some of the children continued the tale with 1 sentence (And everything ended well. / And so they lived.); phrase (the berries are delicious).
When determining the levels of ability to compose a fairy tale among older preschoolers, it turned out that only medium and low levels could be distinguished (40% and 50%, respectively). The children tried to use other animals (a wolf, a bear) in their writings along with the fairy tale characters - the hare and the hare. Let us give an example of a composed fairy tale, where an analogy with the fairy tale “Seven Little Goats” can be traced: the Hare met a wolf and was scared. The Wolf asked the Hare what his name was and where he was going. But the Hare deceived him and said that he was going in the other direction, not home. The Wolf ran there and got lost, and the Hare calmly came to his Hare.
The conducted diagnostic examination proves the need for work aimed at developing the verbal creativity of preschoolers.
Formation of the ability to compose fairy tales in preschool children must begin with the creation of optimal conditions that contribute to the fullest disclosure creative potential personality of a preschool child. At the first stage of teaching older preschoolers how to write a fairy tale, we accumulated art material. We introduced children to fairy tales that are part of children's reading range. We have created conditions for favorable verbal creativity of children and organized the interaction of different types of artistic activities. We used a technique - listening to fairy tales in recordings. The music accompanying the fairy tale and the songs of its characters helped children listen to the music, think about the character of the characters, and enjoy the tenderness and melodiousness of the folk language. Viewing and subsequent analysis of cartoons, working with individual fragments, in our opinion, enriched the children’s vocabulary, contributed to the formation of coherent speech (dialogue and monologue), and developed the phonetic-phonemic and prosodic aspects of speech. For example, we invited children to watch the cartoon “The Snow Maiden” (1958), exchange impressions, and come up with options for developing another storyline cartoon or other ending.
At the last stage we will dwell in more detail, because It is this that takes the longest in our experiment. We began developing the ability to write fairy tales in older preschoolers with a technique - inventing a continuation of the fairy tale.
Children inventing a continuation of a familiar fairy tale. Children of senior preschool age recalled the fairy tale “The Little Goats and the Wolf.” We asked the children to come up with what happened next. We came up with the first continuation of the fairy tale together, the children added one sentence, phrase, word at a time. The teacher begins the sentence, and the children continue at will: “The goat went into the forest again. The kids were left at home alone. Suddenly there was a knock on the door again. The kids got scared and hid under the table. And this was a small... (showed a toy) bunny. The bunny says: “Don’t be afraid of me; It's me, little bunny" Little goats... (let the bunny in). They treated him... (cabbage, carrots). The kids ate and began... (play, have fun, frolic). The bunny played... (on the drum). And the kids... (jumped merrily).” After collective drafting fairy tales, we moved on to individual creativity. At the first lesson, not all preschoolers coped with the task, but some succeeded in continuing the fairy tale: She walked through the forest for a long time, ate grass and met a Fox. The fox says to her, “I have fox cubs, give me some milk.” The goat replies: “I can’t now, I’m hurrying to the kids.” Come tomorrow, the morning is wiser than the evening. And then in the morning the Fox comes with a bucket, and the Goat has everything ready. The next day the Fox came with the fox cubs, and they brought hay to the Goat. The wolf found out about their friendship and felt ashamed, he asked for forgiveness for his behavior. From then on, they all began to live and get along, and the little foxes and goats jumped and played.
Compiling a continuation of the essay based on the fairy tale by B.N. Sergunenkov's "Goat" we began by asking the children to guess riddles about animals - the characters of the work (then the children name other domestic animals known to them). Next, we read the fairy tale twice and discussed its content, carried out a linguistic (lexical) analysis of the text using illustrations. After the physical education session, we conducted an exercise to compare animals - fairy tale characters by their appearance; establishing similarities and differences between them using pictures and a set of toys. Next, they asked the children to compose the fairy tale to the end.
Writing a fairy tale on a topic suggested by the teacher (without a plan). Completing this task gives a big boost creative imagination and independence of thought: the child acts as an author; he himself chooses the content of the tale and its form. We proposed the topic: “Write a fairy tale about bears.” Let's give an example of a composed fairy tale.
Once upon a time there lived a little Bear, far, far away. His den looked like a mink. He was afraid of everyone. And then one day I met a man in the forest, he felt sorry for Mishka. The man says: “If you want to become big, you need to eat a lot and sleep long.” The bear obeyed and slept all winter, and in the spring he ate berries and began to grow by leaps and bounds. Now bears are always big.
Playing games with toys. Traditionally, preschool educational organizations use the technique of dramatizing fairy tales. This technique is effective, firstly, from the point of view of speech development, since children, while memorizing the characters’ lines, remember definition words, clarification words, and action words; secondly, from the point of view of the development of verbal creativity. In the dramatization game, preschoolers often add their own statements and use vocabulary typical of fairy tales.
Connection (contamination) of plots different fairy tales. When completing all tasks, older preschoolers were encouraged to use fairy-tale elements (traditional formulas, visual and expressive means, and in their own compositions). Let's give an example of composing a fairy tale about the Fox, the Cockerel and the Ball.
Once upon a time there lived Sharik. One day the Fox came to the village. She saw the puppy and said: “I came to invite Cockerel to visit, I made him porridge.” Sharik answers her: “I won’t let Cockerel go with you, you’ll deceive him and eat him.” The fox began to persuade him, Sharik agreed and said, “I’ll go with you.” Ball called the Cockerel, and they came together to the Fox. She cooked some thin porridge and served it to her. The cockerel pecked and pecked, and remained so hungry. The ball lapped and lapped, but still wasn’t full. The fox began to ask to visit them, but they did not invite her.
Compiling a fairy tale based on a series of pictures. Glukhov V.P. believes that essays based on pictures have great importance for the development of independent speech skills. A series of pictures contribute to learning how to compose an essay and help to understand the sequence of events that reflect individual, key moments of the plot action. They develop the skill of analyzing a clearly depicted plot, the ability to recreate a plot situation based on comparing the content of individual pictures.
During the lesson, children were asked to compose a fairy tale based on a series of pictures “Smart Hedgehog” (story by N. Radlov). The pupils were shown a series of medium format color pictures (4 pictures). The students placed pictures on the typesetting canvas in the required sequence. At the beginning of the lesson, preschoolers were asked to complete the sentence with a word that required the meaning: The hedgehog found a bunch of... (apples) in the forest. He began to carry them home one at a time... (one by one)./ He got tired of... (running, fiddling). The hedgehog climbed onto... (tree, apple tree) and jumped onto... (apples)./The apples were strung on... (thorns, needles). Then the children recreated the original situation based on the content of the pictures according to the questions: the Hedgehog’s house is visible in the distance; he makes provisions for the winter; he treats guests to apples, apple compote and jam.
Composition educational fairy tale about animals. We used the game "Say More Precisely." The purpose of this game is to develop the accuracy of word usage in children. The teacher begins to tell a fairy tale and asks the children to help choose words when he stops. For example: Once upon a time there lived a Belka and a Belchonok. The squirrel says: “I am the most important!” What kind of squirrel can be? What can she do? (Red-haired, nimble, fluffy. The squirrel lives in the forest, in a hollow. She can collect supplies for the winter, jump from tree to tree...) The little squirrel listened and said: “I’m important too!” What kind of squirrel can be? What can he do? (White, dexterous, nimble...), etc. As you can see, the selected material allows you to compose a scientific educational tale about animals. This type of fairy tale is found in the program preschool. The ability to compose a fairy tale of this type will depend on the extent to which children have theoretical knowledge about a particular animal.
Writing a fairy tale by analogy. This type of essay is quite difficult for preschoolers, so we took the fairy tale “Kolobok” as a basis. All children are very familiar with this work. We analyzed the fairy tale by the questions: Who was the main character? How did Kolobok appear? Why did it happen that he ended up in the forest? Who did he meet? After this, the teacher explained that we would make up a similar fairy tale, where the hero would be... (Bagel, or Cheesecake, or Pancake). He must meet animals... (Gopher, Squirrel, Hedgehog, etc.). The teacher suggests choosing animal characters yourself. At the end of the fairy tale, someone must eat the main character. A fairy tale should teach something, what could be instructive in our fairy tale? The teacher listens to the preschoolers' answer options and suggests composing a fairy tale by analogy. Let's give the beginning of the resulting fairy tale: Once upon a time there lived a mother and her daughter, and they once baked a cheesecake. They put her on the window to freeze, but she came to life and ran away. Rolls along the path, rolls, and towards her...
The main task of the teacher is that preschoolers have the opportunity to learn to express thoughts orally. The teacher can name the characters of the fairy tale or the theme, after which he invites the children to think (what could have happened to this hero?) and speak out. Experience in observing preschoolers shows that at first they don’t know what to say, and then total number As thoughts and images present themselves, it is difficult for them to choose one topic and organize their thoughts. Selecting words and phrases takes a lot of time for many guys, they get tired and lose interest in work. The teacher needs to give several words (helper words) for the children to choose. To organize the actions of the characters and organize the plot, it is advisable to use diagrams and models. When children learn to continue the plot they started and supplement a well-known fairy tale with new events, they can begin to create their own original fairy tale. For this purpose, it is better to set as the main characters of fairy tales such animals that are rarely used in traditional plots, for example: a sheep, a squirrel, etc. As is known, the images of a fox, a hare, a wolf will return preschoolers to already known plots.
In the process of work, it is advisable to involve children themselves in the analysis of the resulting fairy tales. When assessing the work of preschoolers, we pay attention to Special attention on the following indicators: originality, composition of the tale (beginning, main part, ending), richness of vocabulary, correctness and variety of grammatical structures. When organizing classes aimed at developing verbal creativity, it is necessary to build a methodological system. The system will streamline the frequency of such activities, the complexity of types of work, and the variety of types of fairy tale compositions. In order to increase motivation, you can arrange a “day of fairy tales” and invite children from another group to visit, you can give them to mothers (kids) own fairy tales. If possible, the teacher writes down children's fairy tales and, with the help of parents, designs a book of fairy tales. Pupils can act as illustrators of fairy tales.
Conclusions. Thus, our proposed set of measures to develop the ability of older preschool children to write fairy tales can help increase interest in verbal creativity. Taking into account the syncretic nature of children's creativity, we invited children to improvise, play out the plot of a fairy tale-game, using linguistic means conveyed the character and mood of the character in specific situations. We believe that the content of this complex can be used in the practical activities of preschool teachers.
Bibliographic link
Slon O.V. DEVELOPMENT OF VERBAL CREATIVITY IN SENIOR PRESCHOOL CHILDREN (BASED ON THE MATERIAL OF RUSSIAN FOLK TALES ABOUT ANIMALS) // Modern problems of science and education. – 2018. – No. 4.;URL: http://science-education.ru/ru/article/view?id=27858 (access date: 02/26/2019). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"
PROGRAM
For children 7-10 years old
The program was compiled by: Ph.D. ped. Sciences I.A. Kirshin
Kaliningrad 2014
Needs to be organized pedagogical environment
Basic goals :
Main goals:
First conceptual component
Target
The third basic component is pedagogical conditions
- pedagogical environment -
- creative dialogue -
- club forms of activity
The role of the teacher
The role of the child
The nature of the child’s motivation
- only with my heart
Diagnosis of the result
Diagnostic methods
| № | Subject | Watch |
| 1. | ||
| 2. | Storytelling from a picture | |
| 3. | Writing riddles | |
| 4. | Writing a story | |
| 5. | Creative storytelling. | |
| 6. | Writing tongue twisters | |
| 7. | Essay couplet | |
| 8. | Storytelling from a picture | |
| 9. | Creative storytelling | |
| 10. | ||
| 11. | ||
| 12. | Writing the basics of a script | |
| 13. | Writing a fairy tale | |
| 14. | ||
| 15. | ||
| 16. | ||
| 17. | ||
| 18. | Writing poetry | |
| 19. | Storytelling from a picture | |
| 20. | ||
| 21. | TOTAL |
Writing riddles.
1) word games: charades;
2) reading Russian folk riddles;
3) emotional and practical preparation of children for writing riddles;
4) writing riddles;
Writing a story.
1) word games: literary shifters;
2) emotional and practical preparation of children for storytelling based on the picture;
3) reading the stories of E. Kuznetsova “A good word heals, but a bad word cripples”, “We quarreled”;
4) writing stories;
5) homework: write a story.
Writing tongue twisters.
1) warm-up – stage sketches: “we are forest animals”;
2) emotional and practical preparation of children for composing tongue twisters;
3) reading Russian folk tongue twisters;
4) writing tongue twisters;
5) discussion of the received works.
Essay couplet.
1) word games: “guess the letter”;
2) emotional and practical preparation of children for composing couplets;
3) reading B. Zakhoder’s couplets;
4) writing couplets in pairs;
5) discussion of the received works.
Storytelling from a picture.
1) verbal games: joke poems;
3) Compilation descriptive story based on the reproduction of I. Grabar “March”
4) essay collective story according to the picture;
5) discussion of the received works.
Creative storytelling.
1) word games: puzzles;
2) emotional and practical preparation of children;
3) reading N. Nosov’s story “Why”;
4) writing individual stories;
5) discussion of the received works.
Writing a story.
1) warm-up – stage sketches;
2) emotional and practical preparation of children;
3) writing stories in pairs;
4) reading L. Tolstoy’s story “Fire Dogs”;
5) discussion of the resulting works, comparison with the master’s work.
Writing the basis of the script.
1) warm-up – stage sketches: “we are cats”;
2) emotional and practical preparation of children;
3) writing scenarios in pairs;
4) acting out children's scenarios;
5) discussion of the received works.
Writing fairy tales.
6) word games: scanwords;
7) emotional and practical preparation of children;
8) reading N. Kalinin’s fairy tale “About the Snow Bun”.
9) writing collective fairy tales;
10) discussion of the received works.
Writing poetry.
1) warm-up – stage sketches: “we are birds”;
2) emotional and practical preparation of children;
3) reading poetry by A. Barto;
4) writing poetry in pairs;
5) discussion of the received works.
Storytelling from a picture.
1) word games: “the letters are hidden”;
2) emotional and practical preparation of children;
3) display of the painting and compilation of a descriptive story based on the reproduction of A. Savrasov “The Rooks have Arrived”;
4) discussion of the received works.
PROGRAM
additional education children
Development of children's verbal creativity
For children 7-10 years old
The program was compiled by: Ph.D. ped. Sciences I.A. Kirshin
Kaliningrad 2014
Explanatory note
The basis for the program was the ideas of the School of Life of Sh. A. Amonashvili, as well as the following provisions:
Children's verbal creativity is the written or oral expression by a child of subjectively significant verbal content for him, which has the following qualities: fantasy, sincerity, mastery of words, a sense of humor and lyricism, relevance for the author.
To develop children's verbal creativity, it is first of all necessary to identify the child's needs and the motives for his activities.
Needs to be organized pedagogical environment, in 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 who are in creative contact. This team carries out a single activity that should evoke strong positive emotions in the child, since only such emotions generate a vivid image in the imagination. As a result of such activity, the child is invited to realize the image that has arisen (write, draw, play, depict).
The pedagogical environment should cover all aspects of a child’s life, satisfy his physiological, moral, aesthetic and other needs. Only by creating a full-fledged childhood life for a child do we have the right to expect creative manifestations from him.
True creativity is possible only as a holistic lifestyle, as general principle system of relationships with the child, and not as a separate technique in the lesson - only in this case creativity will become diverse and full-fledged. Therefore, a teacher must be able to accept a child’s life with everything that is in it, be able to participate in it, and be able to earn the love and respect of children. Just immersed In a similar way in children's lives, 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 conditions for the manifestation of children’s spontaneous creativity (horizontal level), on the other hand, saturates children beautiful images, encouraging the creative element to rise upward - to the heights of Goodness, Love and Beauty (vertical level). The unification of these levels by the pedagogical environment should give completeness and balance to the development of children’s verbal creativity.
Basic goals :
Upbringing Noble Man
Development of creative abilities;
Development of verbal and creative abilities;
Development of communication abilities.
Main goals:
To captivate children with the joy of creativity;
Unleash their verbal and creative potential;
Create creative children's group;
Instill in children universal human values.
Basic principles pedagogical activity:
Close cooperation of teachers in a single activity;
Constant self-improvement of each teacher (creative growth in the chosen field of art, personal development, improvement of pedagogical qualities);
Informal relationships with kids;
Creative dialogue between teachers and children.
First conceptual component The model consists of a humane-personal approach developed by Sh.A. Amonashvili.
On the indicated conceptual foundation, the second one is built, verbal and creative component, representing methodological support models. When creating a program for children’s verbal creativity, we relied on the developments of V.A. Levin, G.N. Kudina, Z.N. Novlyanskaya and A.A. Melik-Pashaev, L.E. Streltsova and N.D. Tamarchenko, J. Rodari.
Target- transform play with art into communication with art. For this purpose they decide two series of pedagogical tasks. The first row is aimed at preserving in children the properties inherent in a preschooler: spontaneity, emotional integrity and individual originality of perception; desire to play artistic forms; the desire to act freely in an imaginary situation; the joy of doing art and the need for such activities.
The second set of tasks is aimed at ensuring artistic development child. These tasks are solved by combining two areas of activity: the first is familiarity with children's classics, the second is your own creativity. This combination determines the successful development of children's verbal creativity.
Features of performing creative tasks:
Performed only voluntarily;
Performed in class or at home (at the child’s request);
The child’s works are read only with his consent;
The teacher completes tasks together with the children;
The creative work of the teacher is discussed along with the work of the children.
The third basic component is pedagogical conditions development of children's verbal creativity:
- pedagogical environment - a team consisting of teachers, parents and children who are in constant creative contact. This team carries out unified activities based on a humane-personal approach (Sh.A. Amonashvili);
- creative dialogue - a specific type of communication, which is the discovery, expression and transmission to others of the personal meaning of phenomena in an aesthetic form. The purpose of verbal creative dialogue is to identify and develop the child’s own speech style;
- club forms of activity - lively, flexible, non-programmed activities that correspond to children’s nature (games, music, theater, visual arts, modeling, etc.).
All components constitute a single holistic pedagogical process, in which the following characteristics can be distinguished:
The role of the teacher- a teacher in the position of an encouraging assistant.
The role of the child- a child in the position of a freely creative subject.
The nature of the child’s motivation- predominantly internal, individual motivation.
Subject of the teacher’s organizing efforts- inspiration of the child (a state of positively colored emotional and intellectual tension), filling him with images of goodness, love and beauty.
The nature of interactions between teacher and child- empathy, personal involvement of teacher and child.
Specifics pedagogical impact - only with my heart The teacher can touch and guide the development of the child’s creative abilities. Brutal pressure on a child or teacher distorts the pedagogical process, therefore for successful implementation goals, a caring and sensitive atmosphere is necessary as a basic condition.
Diagnosis of the result- the results in the form of products of children's verbal creativity are diagnosed.
Diagnostic methods: self-assessment, peer assessment, expert assessment method (carried out by qualified specialists in the field of literary creativity or teaching literature as an art), conversation with parents and teachers. It should be borne in mind that you cannot expect significant success from every child right away - it is necessary Long procces maturation of creative abilities.
Educational and thematic plan
| № | Subject | Watch |
| 1. | Creative storytelling. "Let's talk on the phone." | |
| 2. | Storytelling from a picture | |
| 3. | Writing riddles | |
| 4. | Writing a story | |
| 5. | Creative storytelling. | |
| 6. | Writing tongue twisters | |
| 7. | Essay couplet | |
| 8. | Storytelling from a picture | |
| 9. | Creative storytelling | |
| 10. | Writing a detective story | |
| 11. | Writing a multi-part story | |
| 12. | Writing the basics of a script | |
| 13. | Writing a fairy tale | |
| 14. | Writing a humorous story | |
| 15. | Telling stories about toys | |
| 16. | Composition satirical story | |
| 17. | Munchausen Competition: “Inventing a Tale” | |
| 18. | Writing poetry | |
| 19. | Storytelling from a picture | |
| 20. | Writing a fairy tale based on the cards of J. Propp | |
| 21. | TOTAL |
