Submitting your good work to the knowledge base is easy. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Posted on http://www.allbest.ru
MINISTRY OF EDUCATION, SCIENCE AND RF
FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER EDUCATION
"BASHKIR STATE UNIVERSITY" (BASHSU)
INSTITUTE OF LIFELONG EDUCATION
FINAL CERTIFICATIONJOB
On the topic:“Formation of verbal creativity in older children preschool age»
Completed:
Retraining course attendee
"Pedagogy and psychology
preschool education"
Platonova Anna Yurievna
G. Ufa2016
Introduction
ChapterI. Theoretical foundations formation of verbal creativityamong older preschoolers in psychological and pedagogical literature
1.1 The concept of creativity, children's verbal creativity and the study of problems of its formation by psychologists and teachers
1.2 The concept of coherent speech, its main forms and characteristics of coherent statements
1.3 The fairy tale genre - as a factor in the development of children’s verbal creativity
Conclusions on Chapter I
ChapterII. Formation of verbal creativity in children of senior preschool age in the process of composing fairy tales
2.1 Studying the level of development of verbal creativity in children 5-6 years old
2.2 Formation of verbal creativity in the process of children composing fairy tales
Conclusions on Chapter II
Conclusion
References
INTRODUCTION
Relevance of the study
Preschool age is a unique period when the foundations for all future human development are laid. That is why the main goal of education is the comprehensive harmonious development of the individual.
Personal development is closely related to the formation of creativity, knowledge of the surrounding world and mastery of the native language.
The child learns to think creatively, improves his thinking by learning to create.
Currently, society is constantly in need of people who are able to think outside the box, act actively, and find original solutions to any life problems. All of the above qualities are characteristic of creative individuals.
Creativity itself is a complex type of activity and there are different tendencies to the nature of its occurrence. children's creativity.
In some cases, creativity is considered as a result of the child’s incipient internal forces. The development of creativity comes down to a spontaneous moment. With this view, there is no need to teach children to draw and sculpt; they themselves strive for self-expression and freedom, creating compositions from strokes and spots. Supporters of this trend do not interfere in the process of developing a child’s artistic abilities.
In other cases, the source of children's creativity is sought in life itself, in appropriate pedagogical conditions, which are a guarantee of an active influence on the development of children's creativity. Supporters of this view believe that abilities are formed gradually, in the process of active activity of children, taking into account individual characteristics child. coherent speech verbal fairy tale creativity preschooler
Verbal creativity is part of the general development of creative abilities of preschoolers in various types of artistic activities:
Its formation is based on the perception of works of fiction and oral folk art in the unity of content and artistic form;
Familiarization with different genres literary works, their specific features, the understanding of which is enhanced in the visual and theatrical activities. Which contributes to the development of creative imagination.
In preschool age, creativity is manifested in various types of artistic activities (visual, musical, motor, play and speech).
A lot of scientifically based works and methods of honored teachers and psychologists are devoted to this: N.A. Vetlugina, L.S. Vygotsky, A.V. Zaporozhets, N.S. Karpinskaya, N.P. Sakulina, S.L. Rubinshtein and others. The work of practical teachers O.S. was devoted to the problem of the development of artistic expression. Ushakova, F.A. Sokhina, O.M. Dyachenko and others.
Many researchers (N.S. Karpinskaya, L.A. Penevskaya, R.I. Zhukovskaya, O.S. Ushakova, L.Ya. Pankratova, A.E. Shibitskaya) directed their efforts to study the nature of children’s creative manifestations in literary activities, as well as searching for ways to develop the child’s creative abilities. These studies have shown that the development of artistic creativity is closely related to the development of cognitive and personal characteristics of a preschool child. A folk tale plays a huge role in the development of creativity, which enriches the world of a child’s emotional experiences, helps him feel the artistic image and convey it in his writings.
A fairy tale for a child is not just a fiction, a fantasy, it is a special reality. Creating fairy tales is one of the most interesting types of verbal creativity for children.
The development of verbal creativity is a multi-complex, multifaceted process and depends, first of all, on the general speech development of children; The higher his level, the more freely the child manifests himself in composing fairy tales and stories.
Object of study: the process of developing creativity in children 5-6 years old.
Subject of research: verbal creativity of children 5-6 years old based on fairy tales.
Purpose of the study: studying the development of verbal creativity in children 5-6 years old, developing a sustainable interest in creativity in children.
Research objectives
1. Selection and study of psychological and pedagogical literature on the problem of developing verbal creativity in preschool children.
2. Study of the features of the content and artistic form of Russian folk tales and their perception by children.
Methodological basis research is the theory of the development of imagination and children's verbal creativity, formulated in the works of L.S. Vygotsky, N.A. Vetlugina, O.M. Dyachenko, N.P. Sakulina, as well as the works of psychologists and teachers on the problem of the development of coherent speech - O.S. Ushakova, S.L. Rubinshteina, F.A. Sokhina, A.V. Zaporozhets.
Research methods:
§ analysis of literature in the field of psychology and pedagogy,
§ pedagogical experiment,
§ conversations, observation of children,
§ analysis of children's creativity products.
Theoretical and practical significance of the work
The conducted research can be used when working on the development of coherent speech in children, as well as in the process of developing literate oral speech in children and cultivating interest in independent verbal creativity.
Organization of the study
The final certification work consists of an introduction, two chapters, a conclusion, and a list of references.
CHAPTERI. THEORETICAL FOUNDATIONS OF FORMATION OF VERBAL CREATIVITY IN SENIOR PRESCHOOL CHILDREN IN PSYCHOLOGICAL AND PEDAGOGICAL LITERATURE
1.1 The concept of creativity, children's verbal creativity and the study of problems of its formation by psychologists and teachers
An adult, raising a child, must subtly and tactfully support the child's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the learning of creativity, since creativity itself can only develop in individual individuals.
Issues of creativity, its development and manifestation in humans have worried the minds of outstanding people for many years in the formation of human history.
Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore it is so important, according to Aristotle, to teach children creativity, the ability to observe and understand people and their experiences from an early age. 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.
Thus, the philosophical dictionary gives the following definition of creativity: “Creativity is a process of human activity that creates 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 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, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:
1 - as a mental process of creating 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 program of behavior 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 the independent creation of new images, which 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 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 more complex connection between the finished product of fantasy and some complex phenomenon of 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 the development of the 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 familiar actions and their possible options) and affective (the child acts 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 the rapid development of role-playing games, drawing, and design. 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 effects by repeatedly varying them in play, drawing and other creative 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 activities, is itself formed in various types of activities and fades 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 possibilities. 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. An image, a situation, an unexpected plot twist that arises in the writer’s head turns out to be passed through a kind of “enriching device” that serves emotional sphere creative personality.
In any activity, two stages are absolutely necessary: setting a task (goal) and solving the problem - realizing 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 features 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. No less difficult task- 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, the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) lies in the unity of content and artistic form. Verbally, she views creativity as an activity that arises under the influence works of art and impressions from the surrounding life and 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. N.A. 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 the idea arises and the search for artistic means begins. The process of children's creativity is not very developed in time. The emergence of a child’s idea is successful if a mindset for a new activity is created (let’s come up with 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 and epithets. Creative tasks are of great importance here.
At the third stage, new products appear. 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 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 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 storytelling is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell 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 by reproducing literary texts, writing descriptions of toys and paintings, and 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 senior group As a 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 communication tools, realize structural organization 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 set a learning task for the children. He motivated it, suggested a theme, a plot, named the main characters. The 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, to emphasize 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 in the speech activity of preschoolers, the reserve is activated famous fairy tales 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 it?
§ Where is it located?
§ 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 nonsense technique” is the writing of absurdities, fables, and “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 of preschool children.
1.2 The concept of coherent speech, its main forms and characteristics of coherent statements
Speech is one of the central, most important mental functions. Psychologists and psycholinguists consider speech as a process of generating and perceiving a statement, as a type of specifically human activity that ensures communication.
Speech development in preschool childhood (mastery of the native language) is a process that is multifaceted in nature. So, this process is organically connected with mental development, since developed human thinking is speech, language - verbal-logical thinking. The relationship between speech development, language acquisition and mental, cognitive development testifies to the enormous importance of language for the development of thinking.
At the same time, the relationship between the speech and intellectual development of a child must be considered in the opposite direction - from intelligence to language. This approach can be conditionally designated as an analysis of the linguistic function of the intellect, that is, clarification of the role of the intellect and mental activity in language acquisition.
E.I. Tikheyeva in her work “Development of Speech in Children” states that “sensations and perceptions are the first step in understanding the world; developing speech is based on a base of sensory representations. The external sense organs are instruments of cognition and, in the development of a child’s speech, they play the most important role. Correct perception of objects is the main mental work of a child. The child’s sensory and speech development occurs in close unity, and work on speech development cannot be separated from work on increasing the senses and perception.”
Speech rebuilds all mental processes: perception, thinking, memory, feelings, desires, and so on. Mastering speech allows a child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Speech has such a magical effect due to the fact that it frees the child from situational situations and from the pressure of the objective environment. Unlike any other signal or any vocalization, a word is a sign that always carries a universal meaning, including not just a specific object, but a thought, image, concept. By mastering language, a child masters a sign system, which becomes a powerful tool for thinking, self-control and, above all, communication.
The close connection between the speech and intellectual development of children is especially clear in the formation of coherent speech, that is, speech that is meaningful, logical, and consistent.
Coherent speech is understood as a detailed presentation of certain content, which is carried out logically, consistently and accurately, grammatically correct and figuratively.
In the methodology, the term “coherent speech” is used in several meanings:
1. Process, activity of the speaker;
2. Product, the result of this activity, text, statement;
3. Title of the section of work on speech development.
Additionally, the terms “statement” and “text” are used synonymously.
An utterance is a speech activity, and the result of this activity: a certain speech product, more than a sentence. Its core is meaning (T.A. Ladyzhenskaya, M.R. Lvov).
“Text” is used in the methodology as a synonym for the word “statement” in its second meaning (“the result of speech activity”), more often in relation to a written statement (text of an article, text of presentation, text analysis, etc.). We can note two interrelated, but non-identical aspects of the text - coherence and integrity.
Coherent speech is inseparable from the world of thoughts; coherence of speech is coherence of thoughts. Coherent speech reflects the logic of the child’s thinking, his ability to comprehend what he perceives and express it correctly. By the way a child constructs his statements, one can judge the level of his speech development.
Coherent speech is a single semantic structural whole, including interconnected and thematically united, complete segments.
In his article “On the tasks of speech development” F.A. Sokhin wrote: “To tell a coherent story about something, you need to clearly imagine the object of the story (subject, events), be able to analyze, select the main properties and qualities, establish different relationships (cause-and-effect, temporal) between objects and phenomena.” In addition, it is necessary to be able to select the most suitable words to express a given thought, construct simple and complex sentences, and use a variety of means to connect individual sentences and parts of a statement.
The main function of coherent speech is communicative. It is carried out in two main forms - dialogue and monologue. Each of these forms has its own characteristics, which determine the nature of the methodology for their formation.
Dialogical speech is a particularly striking manifestation of the communicative function of language. Main feature dialogue is the alternation of speaking by one interlocutor with listening and subsequent speaking by another person. Oral dialogic speech occurs in a specific situation and is accompanied by gestures, facial expressions, and intonation. Speech may be incomplete, abbreviated, and sometimes fragmentary. The dialogue is characterized by: colloquial vocabulary and phraseology, frequency, reticence, abruptness; simple and complex incoherent sentences; brief pre-meditation. The coherence of the dialogue is ensured by two interlocutors. Dialogical speech is marked by involuntariness and reactivity.
Monologue speech is a coherent, logically consistent utterance that lasts a relatively long time and is not designed for an immediate reaction from listeners. It has an incomparably more complex structure and expresses the thought of one person, which is unknown to the listeners. The statement contains a more complete formulation of information, it is more detailed. A monologue requires internal preparation, longer preliminary thinking about the statement, and concentration of thought on the main thing. A monologue is characterized by: literary vocabulary, detailed utterance, completeness, logical completeness, syntactic structure, and the coherence of the monologue is ensured by one speaker.
These two forms also differ in their motives. Monologue speech is stimulated by internal motives, and its content and linguistic means are chosen by the speaker himself. Dialogical speech is stimulated not only by internal, but also by external motives.
Monologue speech is a more complex, arbitrary, more organized type of speech, and therefore requires special speech education.
Coherent speech can be situational and contextual. Situational speech is associated with a specific visual situation and does not fully reflect the content of thought in speech forms. It is understandable only when taking into account the situation being described. The speaker widely uses gestures, facial expressions, and demonstrative pronouns.
In contextual speech, unlike situational speech, its content is clear from the context itself. The difficulty of contextual speech is that it requires constructing a statement without taking into account the specific situation, relying only on linguistic means.
In most cases, situational speech has the nature of a conversation, and contextual speech has the nature of a monologue.
Coherent speech performs the most important social functions: it helps the child establish connections with people around him, determines and regulates the norms of behavior in society, which are decisive conditions for the development of the child’s personality.
Features of the development of coherent speech were studied by L.S. Vygotsky, S.L. Rubinstein, A.M. Leushina, F.A. Sokhin and other scientists in the field of psychology.
In mastering speech, believes L.S. Vygotsky, the child goes from part to whole: from a word to a combination of two or three words, then to a simple phrase, and even later to complex sentences. The final stage is coherent speech, consisting of a number of expanded sentences.
The study by A.M. is widely known. Leushina, which reveals the patterns of development of children’s coherent speech from the moment of its emergence. She showed that the development of speech goes from mastering situational speech to mastering contextual speech, then the process of development of these forms of speech proceeds in parallel.
The formation of coherent speech and changes in its functions depend on the content of the conditions and forms of communication between the child and others.
The formation of coherent speech in young children and the factors of its development were studied by E.I. Tikheyeva, G.L. Rosengarp-Pupko, N.M. Aksarina.
The methodology for conducting a conversation with children is outlined in the works of E.I. Tikheyeva and E.A. Flerina, distinguishes the classification of conversations, from the target setting and method of conduct.
The role of a generalizing conversation and the methodology for conducting it are reflected in the fundamental research of E.I. Radina, where the principles of selecting content for conversations, the structure of the conversation and techniques for activating the speech and thinking of children are revealed.
Issues of the formation of a monologue form of coherent speech were developed by V.V. Gerbova, O.S. Ushakova, V.I. Yashina, E.A. Smirnova, N.O. Smolnikova.
They give characteristics of coherent statements. Coherent statements of children can be characterized from different points of view: by function, source of the statement, leading mental process on which the child relies.
Depending on the function, four types of monologues are distinguished: description, narration, reasoning and contamination. In preschool age, predominantly contaminated utterances are observed, in which elements of all types can be used with a predominance of one of them.
Description is a static characteristic of an object. In the description, a general thesis is highlighted that names the object, then there is a description of essential and secondary features, quality, and actions. The description ends with a final phrase expressing an evaluative attitude towards the subject. When describing, lexical and syntactic means aimed at defining an object and its characteristics are important. Therefore, epithets, metaphors, comparisons are used. The description is characterized by the listed intonation.
In kindergarten, children describe pictures, toys, objects, interiors, natural phenomena, and people.
A narrative is a coherent story about some events. Its basis is a plot unfolding over time. Narration serves to tell the story of developing actions. The material in it is presented on the basis of those semantic connections that are prompted by the life situation. The sequence of events is determined by their actual course. In narrative monologues, means are used to convey the development of action: tense verb forms; vocabulary denoting time, place, manner of action; words to connect sentences.
Preschool children compose stories on a visual basis and without relying on visuals.
Reasoning is a logical presentation of material in the form of evidence. The reasoning contains an explanation of a fact, argues a certain point of view, and reveals the cause-and-effect relationships of the relationship. In reasoning, two main parts are required: the first is what is explained or proven; the second is the explanation or proof itself. Its structure includes a thesis (usually the initial sentence), evidence of the thesis put forward, and a conclusion. The reasoning uses various ways expressions of cause-and-effect relationships, subordinate clauses with the conjunction “because”, verb phrases, nouns in the genitive case with the prepositions “from, with, because of”, introductory words, the particle “after all” and non-union connection, as well as words: here, for example.
Preschool children master the most simple reasoning in a conversational style.
In kindergarten, children are taught two main types of monologues - independent storytelling and retelling. They differ from each other in that in the first case the child selects the content for the statement and designs it independently, and in the second the material for the statement is a work of art.
Retelling is a meaningful reproduction literary image in oral speech. When retelling, the child conveys the author’s ready-made content and borrows ready-made speech forms.
A story is an independent, detailed presentation by a child of certain content. In the methodology, the term “story” is traditionally used to designate monologues of various types independently created by children (description, narration, reasoning, contamination).
Depending on the source of the statement, monologues can be distinguished:
1. For toys and objects,
2. According to the picture,
3. From experience,
4. Creative stories.
Storytelling from toys and paintings. Toys, objects and pictures are excellent materials for teaching different types of utterances, as they suggest the content of speech. When describing, children rely on perception visual material, identify the characteristic features of objects and phenomena. Often the description also includes a story about completed or possible actions with a toy or object, about how these things appeared in the child. In narrative monologues, children convey a certain plot, suggested by a picture, a ready-made play situation created with the help of toys, and also come up with a story based on the picture, going beyond what is shown in the picture, or on toys (one or more). In telling stories from toys and pictures, children learn to select subject-logical content for descriptions and narratives, acquire the skills to build a composition, connect parts into a single text, and selectively use linguistic means.
Storytelling from experience is based on ideas gained through observations, as well as various types of activities, and reflects the child’s experiences and feelings. In monologues, the skills of narration, description, and reasoning are formed from collective and individual experience.
Creative stories are stories about fictional events. In the methodology, creative storytelling is understood as an activity that results in children inventing fairy tales, realistic stories with independently created images, situations, logically constructed, expressed in a certain verbal form. A realistic story reflects objects and phenomena that exist in nature, although they have not been encountered in the child’s personal experience. Fairy tales most often define themselves as a reflection of the artistic experience accumulated by children in the perception and retelling of folk and literary fairy tales. Children can also make up fables. Creative essays can be not only narrative, but also descriptive.
Depending on the leading mental process on which the “children’s” story is based, the story can be:
1. Narration based on visual, tactile or auditory perception is descriptive in nature and leads the child to reasoning. Children talk about those objects or phenomena that they perceive in at the moment. The content of texts created by children is determined by the objects and phenomena themselves, and visually perceived signs and qualities facilitate the choice of appropriate linguistic means. This type of storytelling includes descriptions of toys, paintings, natural objects, and natural phenomena. In storytelling through perception, it ensures the unity of sensory, mental and speech development.
2. Telling from memory is telling from experience, about what was experienced and perceived earlier. This is a more complex activity than perceptual storytelling. It relies on voluntary memory.
3. Imaginative storytelling is children's creative stories. From a psychological point of view, the basis of creative stories is creative imagination. In new combinations, children use ideas stored in memory and previously acquired knowledge.
Any coherent monologue utterance is characterized by a number of features:
1) Integrity (unity of theme, correspondence of all micro-themes to the main idea);
2) Structural design (beginning, middle, end);
3) Coherence (logical connections between sentences and parts of the monologue);
4) Volume of utterance;
5) Smoothness (no long pauses in the storytelling process).
To achieve coherence in speech, a number of skills are required, namely: the ability to understand and comprehend the topic, determine its boundaries; select the necessary material; arrange the material in the required sequence; use the means of language in accordance with literary norms and the objectives of the statement; construct speech deliberately and arbitrarily.
1.3 Fabulousgenre -as a factor in the development of children's verbal creativity
Verbal creativity is a two-pronged process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form.
One of the factors determining the development of children's verbal creativity should be recognized as the influence of folklore.
For centuries, Bashkir folklore has played and continues to play a great educational role in the life of the peoples of Bashkortostan. V.I. Baymurzina notes that folk pedagogy is fully reflected in oral folk art.
K.Sh. Akhiyarova believes that folk pedagogical culture Bashkir people consists of elements of folk art: fairy tales, legends, myths, tales.
The concept " children's folklore"entered science relatively recently. Children's folklore developed directly with folk pedagogy. With children's folklore, every nation prepares its children from the day they are born for working life.
Firstly, “children’s folklore” has an educational influence on the child’s personality, forms artistic abilities, mental properties necessary for such a complex process as verbal creativity, creates the prerequisites for its emergence; secondly, it has a direct impact on the child’s verbal activity, develops educated speech, determines structure and style, feeds it with its material, provides images, develops coherent speech, and equips it with a way to construct a narrative. When studying the properties of folklore, one should focus on the fairy tale, that form epic genre, to which children's writing comes closest.
A fairy tale is a very popular genre of oral folk art, an epic, prose, plot genre. The old name of the fairy tale “fable” indicates the narrative nature of the genre. The subject of the story is unusual, surprising, and often mysterious and strange events, and the actions are of an adventurous nature.
...Similar documents
Modern research and experience in the development of coherent speech in preschoolers with disabilities personal development in the process of verbal creativity. The most common behavioral disorders in children. Recommendations for teachers and parents on speech development.
thesis, added 05/25/2015
Riddles as one of the types of verbal creativity, analysis of educational functions. Consideration of the main features of the development of figurative speech in children of senior preschool age by means of folklore. Characteristics of small folklore forms.
thesis, added 10/08/2014
thesis, added 05/13/2015
Theoretical and methodological foundations for studying the development of coherent speech in children of senior preschool age. Contents of experimental work on the development of coherent speech in children of senior preschool age with mental retardation.
thesis, added 10/30/2017
Psychological and linguistic foundations and problems of the development of coherent speech of children in the theory and practice of preschool education. Contents and methods of experimental work on the development of coherent speech in children of senior preschool age using pictures.
thesis, added 12/24/2017
The influence of various types of arts on the development of creativity in preschool children. Technology and features of conducting classes with children to familiarize themselves with still life. Forms of work of children of senior preschool age in the process of getting acquainted with still life.
thesis, added 09/20/2008
The concept of a decorative image. Specifics of modeling for children of senior preschool age. Emotional perception of folk visual activity. Identification of the initial level of formation of a decorative image in children of senior preschool age.
thesis, added 10/17/2012
Development of speech in ontogenesis. Study of defects that delay the formation of speech components. Analysis of word formation and grammatical forms in children with general speech underdevelopment. Study of the characteristics of coherent speech in children of senior preschool age.
thesis, added 08/10/2010
The influence of various types of arts on the development of creativity in preschool children. Experimental studies of the level of perception of works of art by children of senior preschool age. Technology for introducing children to still life and illustration.
course work, added 01/06/2011
Overcoming general underdevelopment descriptive speech in children older than preschool age. The process of formation and acquisition of the native language in speech disorders. Study of the state of coherent descriptive speech of children of senior preschool age.
Department of Education of the City of Sevastopol
State budgetary educational institution
vocational education
city of Sevastopol "Sevastopol Pedagogical
college named after P.K. Menkova"
Department of Preschool Education
Coursework
Subject: “Formation of verbal creativity in older children in the process of learning to compose stories
according to the description of nature"
Supervisor
Taranenko Svetlana
Mikhailovna
Teacher
__________________________
signature
"____"______________ 2017
Student of group DO-14-1z
Ivanova Alevtina
Andreevna
___________________________
signature
"____"______________2017
Sevastopol 2017
CONTENT
INTRODUCTION………………………………………………………………………………. ..3
Chapter 1. Theoretical foundations for the formation of verbal creativity in preschoolers…………………………………………………………………………………......7
1. Development of creative abilities in preschool children in the process of becoming familiar with nature…………………………………………………………………………………7
2. The role of nature in the development of creative abilities of older children
preschool age…………………………………………………………….9
Chapter 2. Development of verbal creativity in older preschoolers……….15
1. Features of children's verbal creativity in older preschoolers………………………………………………………………………………….15
2. The essence and methodology of teaching descriptive stories about nature……18
Conclusion………………………………………………………………………………...24
References……………………………………………………………..25
INTRODUCTION
The development of imagination is one of the leading lines of mental development of a preschool child. In addition to the ability to transform images and impressions, which is recognized as the main mechanism of the functioning of the imagination, the assimilation of speech plays an important role in its development. L. S. Vygotsky noted that speech frees the child from his immediate impressions, makes it possible to imagine an object that he has not seen and think about it.
One of the manifestations of creative imagination is children's verbal creativity. There are two types of word creation (A.G. Tambovtseva, L.A. Wenger, etc.), these are the so-called new formations
inflection and word formation (children's neologisms). And secondly, this
writing is an integral component of artistic and speech activity. In the latter case, verbal creativity is understood as the productive speech of children, which arose under the influence of works of art,
impressions from the surrounding life and expressed in the creation of oral
works - fairy tales, short stories, poems, etc. . Creating essays implies the ability to modify, transform memory representations and create new images and situations on this basis, determine the sequence of events, establish connections between individual events, “enter” the depicted circumstances, select speech means to construct a coherent statement.
According to V.T. Kudryavtsev, children's word creation is valuable not only for the development of speech, but also for the acquisition of their native language. The scientist assures that children's linguistic experiments are a universal mechanism for “entry” into culture.
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. Korotkova, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching.
According to Vikhrova N.N., Sharikova N.N., Osipova V.V. The peculiarity of creative storytelling is that the child must independently come up with content (plot, imaginary characters), relying on the topic, his past experience and putting it into a coherent narrative. The opportunity to develop creative speech activity arises in older preschool age, when children have a fairly large stock of knowledge about the world around them. They have the opportunity to act according to plan.
L.S. Vygotsky, K.N. Kornilov, S.L. Rubinshtein, A.V. Zaporozhets consider creative imagination as a complex mental process inextricably linked with the life experience of a child. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical influence.
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.It is creative storytelling that brings the child closer to the level of monologue speech that he will need to move on to a new leading activity - study, since it provides great opportunities for the child to independently express his thoughts. Conscious reflection in speech of various connections and relationships between objects and phenomena plays an important role in the development of verbal - logical thinking, contributes to the activation of knowledge and ideas about the environment. To teach how to write a descriptive story about nature means not only to awaken his interest in what he is talking about, but also to help the child understand, feel the beauty of the described object or phenomenon and thereby make him want to find the necessary words and expressions to convey it in his speech.
K. D. Ushinsky also emphasized the role of nature in the development of logical thinking and coherent speech. He considered the logic of nature to be the most useful, accessible and visual for a child. It is the direct observation of the surrounding nature “...that will constitute those initial logical exercises of thought on which logic depends, i.e. the truth of the word itself, and from which logical speech and understanding of grammatical laws will then naturally flow.” The process of cognition of nature in all its diversity contributes to the understanding and use in coherent speech of various grammatical categories that denote names, actions, qualities and help to analyze objects and phenomena from all sides.
Currently, the high social significance of the development of verbal creativity in children forces us to take a different look at the issues of upbringing and teaching in kindergarten, at the relevance and necessity of creating developmental activities for the development of creative abilities in children.
All higher value acquires a pedagogical impact on children, that is, the creation of conditions and the use of various methods, techniques and forms of organizing work to develop the creative abilities of preschool children in the process of becoming familiar with nature.
It follows from this that children must be specially taught to talk about nature:
1. Give them sufficient knowledge to allow them to compose a relatively complete and accurate story about any object or natural phenomenon;
2. Develop children’s ability to formulate their thoughts, imagination, thinking, and observation skills;
The relevance of the topic is related to the problem of a child mastering the skills of verbal creativity in the speech of a preschooler. Most shortcut emotional liberation of the child, relieving tension, teaching feeling and artistic imagination - this is the path through play, fantasy, writing and the creation of a holistic system for teaching verbal creativity
Object of study: verbal creativity of children of senior preschool age in describing nature
Subject of research: the formation of verbal creativity in the process of learning to compose stories describing nature.
Research objectives:
Features of the development of verbal creativity in children of senior preschool age.
Development of creative abilities in preschoolers in the process of becoming familiar with nature;
The role of nature in the development of children's creative abilities;
To study ways of developing coherent speech based on familiarization with nature, enriching and activating the vocabulary on this issue.
Teaching children to talk about nature.
Methodological techniques that prepare children to write descriptive stories about nature.
Purpose of the course work:
Studying methods and techniques for teaching children to compose stories about nature.
Chapter 1. Theoretical foundations for the formation of verbal creativity in preschool children
1.Development of creative abilities in preschool children in the process of becoming familiar with nature.
It is known that teaching children creative storytelling is a gradual and quite complex process. It proceeds most successfully under the guidance of teachers and parents, who help children master these skills, both in specially organized classes and during everyday life. Older preschoolers have access to creative storytelling about events from their surrounding life, relationships with friends, topics from personal experience, and inventing stories and fairy tales.
Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole. It requires active imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions. It is creative storytelling that brings the child closer to the level of monologue speech that he will need to move to a new leading activity - study, since it provides great opportunities for the child to independently express his thoughts. Conscious reflection in speech of various connections and relationships between objects and phenomena plays an important role in the development of verbal and logical thinking, contributes to the activation of knowledge and ideas about the environment. To teach how to write a descriptive story about nature means not only to awaken his interest in what he is talking about, but also to help the child understand, feel the beauty of the described object or phenomenon and thereby make him want to find the necessary words and expressions to convey it in his speech.
The ability to compose creative stories independently, while observing all the necessary standards (literacy, structure, integrity, etc.) is, according to the definition of A. M. Leushina, “the highest achievement of the speech development of a preschooler.” When composing a story, the child’s speech must be meaningful, detailed, logical, consistent, coherent, literate, lexically accurate, phonetically clear.
N.A. Vetlugina noted thatin his creativity, “the child discovers something new for himself, and for those around him - something new in himself.”
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, which can become the content of verbal creativity. Children master complex forms of coherent speech and vocabulary. They have the opportunity to act according to plan. “Imagination from reproductive, mechanically reproducing reality, turns into creative,” this is explained by the acquired ability of children to operate with their ideas, generalize, analyze, and draw conclusions.
L. S. Vygotsky, K. N. Kornilov, S. L. Rubinstein, A. V. Zaporozhets consider creative imagination as a complex mental process inextricably linked with the life experience of a child. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical influence.
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 features 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. 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.
Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of vocabulary. A fairly rich and varied vocabulary is the basis for the development of coherent speech, consisting of correctly composed sentences. 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. To develop coherent speech, it is very important to learn how to compose different types of sentences. A.N. Gvozdev repeatedly emphasized this and attached great importance to mastering the syntax of complex sentences, since they “exclusively” provide a variety of opportunities for expressing connections and relationships of thoughts. Transferring knowledge about nature requires the mandatory use of complex sentences. Thus, observing the winter landscape, children, with the help of a teacher, give various definitions of the qualities and conditions of snow: white, like cotton wool; slightly bluish under the tree; sparkles, shimmers, sparkles, shines; fluffy, falls in flakes. These words are then used in the children’s stories: “It was in winter, in the last month of winter, in February. When was the last time snow fell - white, fluffy - and everything fell on the roofs, on the trees, on the children, in large white flakes.
2. The role of nature in the development of creative abilities of children of senior preschool age.
Nature has always served as the content of fine art. N. E. Rumyantsev, a famous Russian teacher, wrote that nature is “eternally alive, renewing, great in its diversity... is always a living spring of poetic creativity.” V. A. Sukhomlinsky wrote: “The world surrounding a child is, first of all, the world of nature with an endless wealth of phenomena, with inexhaustible beauty. Here in nature, the eternal source of children's intelligence and creativity." K. D. Ushinsky wrote: “A beautiful landscape has such a huge educational influence on the development of a young soul that it is difficult to compete with the influence of a teacher.”
.
Nature surrounds a child from an early age and is one of the main means of aesthetic education of children.The beauty of nature does not leave even the smallest children indifferent.
The diversity of the surrounding world and natural objects allows the teacher to organize interesting, useful, cognitive activities for children. Aesthetic perception is ensured by direct, “live” communication between children and nature. In the course of games, observations, and work, children become familiar with the properties and qualities of objects and natural phenomena, learn to notice their changes and development. They develop curiosity. Observing the beauty of nature - sunrise and sunset, spring drops, flowering gardens and much more - a source of artistic impressions that knows no bounds. Acting on the child’s emotions with its beauty - perfection of form, varied and (depending on the time of day, year, lighting) changeable color, nature evokes aesthetic feelings. The aesthetic perception of nature evokes in children feelings of a careful, caring attitude towards plants and animals, a desire to care for and care for them. This allows the teacher to develop logical thinking, voluntary attention, and most importantly, creative abilities in students. Expansion of ideas about the natural world occurs in preschoolers every day, in direct educational activities, on walks, and during observations. To develop creative abilities in children, it is necessary to use, at the moments of observation, a variety of expressions, comparisons, epithets that can be found in poetic works, because pictures of nature inspired many poets and writers. They also help the child learn the beauty, truth, and goodness of the works of landscape artists. Colorful images of landscape paintings teach children to fantasize, they have a desire to create something similar themselves. When introducing children to nature, it is important to give them correct ideas about the life of animals, plants, and the beauty of their appearance in an interesting, accessible form. Animals attract the attention of children with their habits, mobility, habitat, and the way they are connected to humans. It is necessary to show children the diversity of the animal world, allow them to observe and study animals (on the street, in the zoo, at home). Some children have pets at home, and they, of course, enjoy drawing them and talk a lot about them. This always evokes a positive response from them, and also helps to clarify their knowledge about natural objects and a positive attitude towards it.
Nature is a source of knowledge, and knowledge of various natural phenomena is closely related to mastering the art of speech.N.F. Vinogradova argues that nature, with all its diversity of shapes, colors, and sounds, is the richest source for the development of a preschooler’s vocabulary and the child’s aesthetic experiences.Children always and everywhere come into contact with nature in one form or another. Green forests and meadows, bright flowers, butterflies, beetles, birds, animals, moving clouds, falling snow flakes, streams. Even puddles after rain - all this attracts the attention of children, makes them happy, and provides rich food for their development.In the process of contemplating nature, a child has the opportunity to correctly determine the size of an object, its shape, symmetry, colors, their harmonious combination and color contrast, or disharmony, determine shades of color at different degrees of illumination at different periods of the day, season, etc. But a child can do all this only if his dictionary contains the appropriate names of objects, objects and phenomena, as well as the formation of the corresponding ideas.
K. D. Ushinsky also emphasized the role of nature in the development of logical thinking and coherent speech. He considered the logic of nature to be the most useful, accessible and visual for a child. It is the direct observation of the surrounding nature “...that will constitute those initial logical exercises of thought on which logic depends, i.e. the truth of the word itself, and from which logical speech and understanding of grammatical laws will then naturally flow.” The process of cognition of nature in all its diversity contributes to the understanding and use of coherent speech of various grammatical categories, denoting names, actions, qualities and helping to analyze objects and phenomena from all sides.
Nature provides a rich, emotional experience for children.“Nature is not only a great teacher, but also a great educator. The beauty in nature is limitless and inexhaustible. Therefore, nature is a source for creativity. The beautiful in nature has been and remains the subject of artistic exploration. Therefore, great artists have always been pioneers of beauty in the world around us.”
Interest in nature also needs to be cultivated. By showing children what and how to observe in animals and plants, drawing their attention to appearance, movements, habits, the teacher forms not only knowledge about nature, but also children’s attitude towards it.
The ability to see nature is the first condition for education through nature. It is achieved only through constant communication with nature. To feel like a part of the whole all the time, you need to be in a relationship with this whole. That is why the harmony of pedagogical influences requires constant communication with nature.
In direct contact with nature, along with observation, curiosity also develops.
The child must be taught to see nature. After all, looking does not mean seeing. Not everything that is imprinted in the retina of the eyes is perceived, but only what attention is focused on. We see only when we are aware. Children need to be taught to see. This means not only to show, but also to describe verbally. For example, describe the colors and shades of the sunset sky and dawn, describe the shape of the clouds and their coloring, describe the starry sky and the moon, show it all. If residents high floors can see the sky from a window or from a balcony, others will see it when they go out into the yard. The sky is extremely varied and always beautiful. You cannot get tired of contemplating it every day, throughout your entire life, just as you cannot get tired of breathing. On the contrary, every day such contemplation, even for a few minutes, refreshes the soul. You also need to “see” snowfall or rain, or a thunderstorm. There should always be flowers in the house that the child cares for, observes and enjoys the beauty of. Cities have trees, boulevards, squares, and parks. And here we need to teach children to “see” trees, flowers, shrubs: to notice the features and shades of petals and leaves, to observe how the buds swell and bloom or the leaves begin to turn yellow, how the flowers bloom and the seeds ripen. It is necessary for the child to choose the tree in his immediate surroundings that seems most attractive to him and watch it wither and go into winter sleep. Let him treat his favorite tree as a friendly creature - visit it, notice new shoots, help it.
The main task in developing creative abilities through the means of nature is to awaken in children an emotional attitude towards it. An emotional attitude towards nature helps make a person taller, richer, and more attentive. Nature is one of the factors influencing the development and formation of creative abilities. It is an inexhaustible source of impressions and emotional impact on a person. Nature occupies a significant place in people's lives and contributes to the formation and development of creative skills.
A large role in the development of creative abilities of preschool children through the means of nature belongs to the teaching staff of the kindergarten. The most effective sequence of work is as follows:
Direct perception of nature;
Organized observation of nature during walks and excursions.
Observation surrounding reality has a profound impact on the comprehensive development of the child’s personality. During the observation process, all the child’s analyzers are turned on: visual – the child sees the size and color of the object being studied; auditory - the child hears the sound of the wind, the splash of water in the river, the sound of raindrops, the rustling of leaves, the babbling of a brook - all this is delightful for the child’s hearing. The taste allows you to subtly distinguish between the sweet taste of honey and the salty taste. sea water, taste of spring water. The sense of touch is a child’s second eyes. Sensing objects of nature, the child feels all the roughness of tree bark, grains of sand, and scales of cones. Smells also excite a child's imagination. Developing observation skills in children is the task that educators face.
When working to develop creative abilities through the means of nature with preschool children, the teacher must be well aware of the characteristics of this age. Children of this age have a great desire for independence and creativity. They want to see everything, discover everything themselves. This interest encourages children to be active. But its direction in relation to nature can be different.
Chapter 2. Development of verbal creativity in preschoolers.
1. Features of children's verbal creativity in older preschoolers.
Verbal creativity is a process associated with the general development of the child. There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without a child mastering the richness of the language in which he speaks and thinks. Of course, we understand this mastery in accordance with the characteristics of preschool age.
The concept of “verbal creativity” can be applied to any case of creativity associated with words. At the same time, it refers to two, although related, but still fundamentally different areas: creativity in speech and creativity in language.
Pedagogical studies devoted to the problem of the formation of verbal creativity prove that creative speech activity is successfully carried out in older preschool age under the influence and as a result of special training, an important condition of which is the choice of means (L.M. Voroshnina, E.P. Korotkova, N. .A. Orlanova, O.N. Somkova, E.I. Tikheeva, O.S.
The basis of verbal creativity, notes O. S. Ushakova, “is 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 views 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 essays, stories, fairy tales, and poems.”
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.
N.A. 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 see his surroundings imaginatively.
The second stage is the actual process of children's creativity, when the idea arises and the search for artistic means begins. The emergence of an idea in a child goes away if a mindset for a new activity is created (let’s come up with a story). The presence of a plan encourages children to search for means of its implementation: searching for a composition, highlighting the actions of the characters, choosing words. Creative tasks are of great importance here.
At the third stage, new products appear. 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. 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.
Since the basis of creative storytelling is the process of processing and combining ideas that reflect reality, and the creation on this basis of new images, actions, situations that did not previously have a place in direct perception. The only source of combinatorial activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and diversity of ideas and life experiences that provide material for fantasy.
One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with impressions from life.
This work can have a different nature depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books. Thus, before describing nature, systematic observations of seasonal changes in nature and reading literature describing natural phenomena are used.
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, deepens moral feelings, and provides excellent examples of literary language. Works of oral folk art 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.
Creative storytelling is a productive 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.
The theme of creative stories should be related to the general tasks of instilling in children a correct attitude towards life around them and 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.
Creative stories can be divided into the following types: stories of a realistic nature; fairy tales; descriptions of nature.
The most difficult task is to create descriptive texts about nature, since it is difficult for a child to express his attitude towards nature in a coherent text. To express his experiences related to nature, he needs to master a large number of generalized concepts and, to a greater extent, be able to synthesize.
In the process of learning coherent speech, children master the skills of composing stories of various types. E.P. Korotkova distinguishes factual, creative, descriptive and plot stories.
Teaching one’s native language, in particular teaching creative storytelling, is one of the main tasks of preparing for school. Many studies have been conducted on the formation of coherence, imagery and other qualities of monologue speech - different types of storytelling, including creative. Research by O.I. Solovyova, E.I. Radina, V.A. Ezikeeva, E.G. Baturina, Yu.S. Lyakhovskaya, G.A. Tumakova, V.V. Gerbova and others is devoted to this problem. Research in preschool pedagogy has developed general ideas about the directions of work on the development of creative storytelling in preschoolers.
Creative stories require the child to be able to modify his existing experience, to create relatively new (for the child-storyteller) images and situations from this material. Moreover, creative stories can also be based either on a visual basis (come up with events with the characters in the picture that go beyond what is depicted; come up with a fairy tale about a toy squirrel and a little bunny, which the child holds in his hands), or on a verbal basis (come up with a story on a topic suggested orally“How Seryozha helped Natasha”).
Children show great interest in independent composition. At the same time, it is necessary to create certain conditions for the development of children’s creative speech skills:
- compilation of various types of creative stories;
In the older group - inventing a continuation and ending to the story, stories by analogy, stories according to the teacher's plan, according to the model;
In the preparatory group - stories, fairy tales on a topic proposed by the teacher, modeling a story;
Identification of the child’s individual abilities for creative speech activity.
One of the important methodological issues in teaching creative storytelling is the question of choosing plots. The plot can be approved if it makes children want to come up with a story, a fairy tale with a clear compositional structure, including elementary descriptions, if they correspond to the child’s experience, the level of his speech development, affects moral and aesthetic feelings, activates the imagination, deepens interest in speech activity.
2. The essence and methodology of teaching descriptive stories about nature.
The ability to talk about nature develops in children gradually. To do this, it is necessary to specifically teach children to talk about nature:
It is necessary to give the child the necessary knowledge that will help to compose a relatively complete and accurate story about any object or natural phenomenon;
To develop children’s ability to formulate their thoughts and present their information as logically and consistently as possible.
N.F. Vinogradova offers several types of stories that are taught to children to describe nature. This sequence of types of stories provides a gradual complication of working with children.
1. A plot story based on direct perception or work in nature (“How we set up a flower garden”, “Who dined in the bird canteen”);
2. Plot and descriptive story based on the generalization of knowledge gained from conversations, reading books, looking at paintings (“How animals live in winter”, “What happened to the fox cubs”).
3. A descriptive story based on a comparison of different seasons (“Forest in spring and winter”);
4. A descriptive story about the season as a whole “Why I love summer”;
5. A descriptive story about a separate object or natural phenomenon
(“Bouquet of Daisies”) .
Children have the least difficulty with descriptive stories based on comparisons of different seasons. Children describe objects and phenomena that they have repeatedly observed on excursions and walks. To compose such a story, you can use landscape paintings famous artists, for example: I. Shishkin “Morning in pine forest“, the teacher can offer the task: “Tell me what would be drawn in the picture if the artist wanted to depict the evening.”
A narrative story about nature based on direct perception or labor is accessible to children of the fifth or sixth year of life, since it should reflect specific situations familiar to them. Such a story based on the teacher’s model is possible already in the middle group of kindergarten.
The most difficult of all nature stories is the descriptive story about a single object or natural phenomenon. In such descriptions, children more often list the signs and properties of the object, rather than their attitude towards the described object.Compiling narrative stories about nature is much easier for children than composing descriptive ones. Therefore, the process of teaching nature storytelling is different from teaching about other topics.
To teach a child to compose a descriptive story about nature means not only to awaken him to what he is talking about, but also to help him understand, feel the beauty of the described object or phenomenon, and thereby arouse in him the desire for the necessary words and expressions to convey in his own speech.
Descriptive storytelling is a type of creative storytelling.
To teach children how to compose a descriptive story about nature, it is necessary to develop the expressiveness and figurativeness of children’s speech, and to develop the ability to convey their attitude to what they are talking about.
A unique impetus for nurturing the expressiveness of children’s speech is provided by vivid, diverse impressions from the world around them. Observing pictures of nature together with the teacher, listening to his explanations, which are always figurative and expressive, children perceive this beauty. She makes them think and then talk. The role of the teacher here is very important.
N.A. Vetlugina noted that in his creativity “a child discovers something new for himself, and for those around him - something new about himself.” .
Children's mastery of figurative speech should not be limited to the accumulation of epithets in their vocabulary and the ability to compose syntactically complex sentences. It involves the ability to choose the right, bright word in the context, to insert homogeneous terms, isolation, comparison into your story. The selection of a figurative word or expression is a necessary condition for the correct and deep characterization of an object or phenomenon. Emotional attitude, noted B. M. Teplov, is cultivated from a small age: from elementary “like”, “dislike”, “pleasant”, “unpleasant” to mastering a whole range of aesthetic assessments.
N.A. Vetlugina identified 3 stages for the development of expressiveness of children's speech:
1. Tasks that give instructions for ways of action that are new for children: compose, invent, change. At this stage, children act together with the teacher, independently using only elements of creative actions.
2.Tasks that force children to find new combinations based on old, already known solutions;
3.Tasks in which children themselves plan their activities from beginning to end and choose artistic means.
O. S. Ushakova proposed using lexical exercises to select epithets, metaphors, comparisons, synonyms and antonyms, which help children feel the beauty of poetry, compare non-poetic and poetic language, develop their poetic ear. Also one of the types creative tasks is for children to compile stories - sketches about nature and natural phenomena.
V.A. Sukhomlinsky called such works “small essays about nature.” He taught children to feel nature and convey their impressions in speech.
A story - sketch is a short story on a proposed topic, a kind of verbal sketch. The purpose of these stories is to develop figurativeness and precision of language, to develop the ability to characterize an object or phenomenon in a few sentences, and to find the most expressive words to describe it.
Conventionally, stories - sketches are divided into groups:
A story is a sketch compiled during an observation or excursion;
A story is a sketch about one or more natural objects, compiled during a conversation;
A story is a sketch about one or more natural objects, the compilation of which takes place as an independent activity.
Compiling stories and sketches awakens children's interest in language. They always willingly learn to “come up with beautiful stories”; they are happy to select figurative expressions and insert them into colloquial speech.
Purposeful work, during which children's familiarization with nature is used to develop their logical thinking and coherent speech, leads to the fact that the stories of older preschoolers become accurate, clear, quite rich and linguistically diverse, and emotional. Children master all types of descriptive stories about nature.
As children's knowledge expands, their stories contain generalizing words (“rooks are the first spring birds”), participles and gerunds (“murmuring brooks,” “blooming spring nature”), bright epithets and comparisons (“dandelion, like the sun, green sky and lots and lots of sunshine"). All this speaks to the development of the ability to creatively use the means of language to express one's thoughts and feelings.
The development of figurative language is helped by the child’s attraction to rhymed speech. In this regard, in older groups it is advisable to give tasks more often: “Come up with a riddle”, “Let’s come up with poems together.” So, in class, while examining any objects, the teacher makes riddles about them, and then invites the children to come up with riddles themselves.
Such activities develop children's creative imagination. As K. D. Ushinsky said, logical thought in the soul of a child merges with poetically, the development of the mind goes hand in hand with the development of feeling, logical thought finds poetic expression. Children's interest in a well-aimed, bright word seems to be focused.
With the thoughtful work of the teacher, the intonation of children's speech and their posture during storytelling change noticeably. The teacher must teach children, speak expressively, and address all listeners. Along with enumerative and narrative intonations, typical of children’s speech, intonations of reasoning, joy, admiration, and surprise appear. During the learning process, the behavior of child listeners changes: they are attentive, focused, and critical. When assessing the stories of comrades, their requirements for the content of the story, its reliability, and clarity become more complicated (“I made it all up, it doesn’t happen like that,” “You can’t understand anything from him, he’s in a hurry”). Children make sure that the answer corresponds to the teacher’s assignment (“They told you “tell me”, but you said one word”).
All this indicates that the learning process has a positive effect not only on the content and form of a child’s story, but also on children’s attitude towards the story itself: gradually, preschoolers develop a sense of words and a love for their native language.
CONCLUSION
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. It is known that the basis of creative storytelling is the process of processing and combining ideas that reflect reality, and the creation on this basis of new images, actions, situations that did not previously have a place in direct perception. The only source of combinatorial activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and diversity of ideas and life experiences that provide material for fantasy. One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with impressions from life.
Communication with nature contributes to the development of creative speech activity of preschool children. By learning, observing nature and its phenomena, the child develops observation and curiosity, replenishes vocabulary. Observing nature, watching pictures about nature together with the teacher, listening to his explanations, obligatory figurative, expressive ones, children perceive this beauty. Along with this, verbal creativity develops, which is expressed in various forms: writing stories, fairy tales, descriptions; writing poems, riddles, fables; word creation (creation of new words - new formations).
There is a direct relationshipbetween the development of children's speech and their creativity. Creativity itself is unthinkable without a child mastering the richness of the language in which he speaks and thinks. Children's knowledge base should correspond to the characteristics of preschool age.
The development of creative speech activity occurs in older preschool age, when children acquire a sufficiently large stock of knowledge about the world around them, which can become the content of verbal creativity. But in order for a child to express his thoughts and feelings, it is necessary to constantly enrich and activate his vocabulary.From this we conclude thatverbal creativity arises and develops where there is purposeful guidance of this activity, where all conditions are created for this activity.
REFERENCES
1.Alekseeva M.M., Yashina V.I. Methods of speech development and teaching the native language to preschoolers / M.M. Alekseeva, V.I. Yashina. – M.: Academy, 1998. –400 p.
2. Borodich A.M. Methods for developing children's speech/ A.M. Borodich – M.:Education, 1988. – 256 p.
3. Vinogradova I.F. Mental education of children in the process of acquaintance with nature / I.F. Vinogradova - M.: Education, 1982.-112p.
4. Vetlugina N.A. Artistic creativity in kindergarten / Ed. N.A. Vetlugina - M.: Education, 1974. – 284 p.
5. Vetlugina N. A. The main problems of artistic creativity of children // Artistic creativity and the child. /Ed. N.A. Vetlugina - M., Education, 1972. – 215s.
6. VeretennikovaWITH. A. FamiliarizationpreschoolersWithnature: textbook for students of pedagogical schools/S.A. Veretennikova -M.: Education, 1973. - 256 p.
7. Vygotsky L.S. Imagination and creativity in childhood / L.S. Vygotsky - St. Petersburg: SOYUZ, 1997. – 96 p.
8. Gerbova V.V. Classes on speech development in the senior group of kindergarten / V.V. Gerbova - M.: Mosaic - Synthesis, 2010. - 60 p.
9. Grab L.M. Creative storytelling for children, teaching children 5-7 years old / L.M. Hornbeam – Volgograd: Teacher, 2013. – 136 p.
10. Gvozdev A.N. Issues in the study of children's speech / A.N. Gvozdev St. Petersburg: Childhood - Press, 2007. - 472 p.
11. Korotkova E.P. Teaching preschool children storytelling: A manual for kindergarten teachers / E.P. Korotkova - M.: Education, 1982. – 112 p.
12.Teaching preschoolers how to write stories about nature[Electronic resource] -www/ http:// allbest. ru., free access. – (Date of access: 01/06/2017).
13. Craig G. Developmental Psychology / St. Petersburg: Peter, 2000. - 992 p.
14. The role of nature in the development of creative abilities of children of senior preschool age [Electronic resource] - ., free access. - (Date of access 04/09/2017)
15. Tkachenko T.A. Teaching children creative storytelling using pictures / T.A. Tkachenko – M.: Vlados, 2006. – 47 p. / UshinskyTO. D. – M.:Pedagogy, 1974. – 584 p.
18.Ushakova O.S. Development of verbal creativity in children aged 6-7 years / O.S. Ushakova // Preschool education. – 2009.- No. 5.- 50 p.
19. Ushakova O. S. Speech education in preschool childhood. Development of coherent speech: Abstract doctoral dissertation: – M., 1996- 364 p.
20.Ushakova O.S. Speech development of preschoolers / O.S. Ushakova - M.: Publishing House of the Institute of Psychotherapy, 2001. – 256 p.
21.
Kazarinova O. A. Image of nature as a means of developing the creative abilities of preschool children // Young scientist. - 2017. - No. 15. - P. 580-582
According to psychologists, creativity is an activity
as a result of which a person creates something new, original, showing imagination, realizing his plan, independently finding the means to implement it.
The largest Russian scientist and psychologist L.S. Vygotsky gave the following definition of the concept of creative activity: “We call creative activity such human activity that creates something new, no matter whether what is created by creative activity is some thing in the external world or a construct of the mind, or a feeling that lives and is revealed in the person himself.” . In addition, he emphasized that “the imagination does not repeat impressions that have been accumulated before,
but builds some new series from previously accumulated impressions. Introducing something new into our impressions and changing these impressions so that the result is a new, previously non-existent image.”
L.S. Vygotsky revealed the mechanism for creating imagination images: “A person accumulates material from which his fantasy is subsequently built. What follows is a very complex process of processing this material. The most important components of this process are dissociation and association of perceived impressions."
An analysis of psychological and pedagogical research has shown that creativity is characterized by scientists by two main indicators: it must be of social value and produce completely new products.
In order to determine whether children's creativity corresponds to these indicators, it is necessary to turn to the research of psychologists (L.S. Vygotsky, B.M. Teplov, D.B. Elkonin) and teachers (N.A. Vetlugina, E.A. Flerina, A.E. Shibitskaya). They prove that creative activity meets the needs and capabilities of the child and is accompanied by his emotional and intellectual activity,
and ensures the formation of methods of unified creative cognition, implemented in various activities
In the works of B.M. Teplova, A.V. Zaporozhets, L.A. Wenger emphasized the leading role of education, training, and the determining importance of pedagogical activity in the development of artistic and creative abilities. Transforming imagination into a deliberate, purposeful one is the task of the teacher, and with some work with it, the preschooler develops a recreating imagination, the result of which is the creation of an image in accordance with the description, drawing, diagram, task. The image created by a child is always a personal formation, therefore even the most elementary cognitive act, leading
to the creation of a subjective image, begins on the initiative of the subject, is determined by his internal attitudes and emotions, i.e. reflects his internal state (L.A. Wenger).
Tikheyeva E.I. emphasizes that, by its nature, children's creativity is synthetic, often improvisational in nature and makes it possible to judge individual manifestations quite fully and identify them in a timely manner.
In the development of children's artistic creativity N.A. Vetlugina identifies three stages. At the first stage, the role of the teacher is
in organizing those life observations that influence children's creativity. If a child has to reflect life experiences
in a fairy tale, a story, then he must be taught to visualize the surroundings,
i.e., perception that has an aesthetic coloring. The imaginative vision must be holistic: the child must consider the phenomenon not in isolation, but in its multilateral connections. This develops his ability to find relationships between various objects and phenomena. Children's observations help develop combinatorial abilities. It is important that they realize that some things can be changed
and transformed.
Art plays a special role in the development of children's perception.
It helps the child to feel more keenly the beauty in life, enriches the world of his emotional experiences, and contributes to the emergence of artistic images. This stage precedes the creative activity itself, however, the development of perception, the accumulation of artistic and life experience are closely related to the subsequent artistic and creative activity of children.
The second stage is the actual process of children's creativity.
It is directly related to the emergence of an idea, to the search for artistic means. The process of children's creativity is not very developed
in time. The creative act takes place “in one breath.” The child gives a quick release to his feelings and, according to L.S. Vygotsky, “creates
in one go."
The role of the teacher is, according to a number of authors, to create a joyful atmosphere full of interesting, sometimes unexpected experiences, which is necessary for the child to successfully carry out creative activities and ensure the internal need for self-expression in creativity. It is important to provide variability in situations
in which the child will have to act, as this will activate his mental activity. To develop creativity, it is necessary to change conditions from time to time, to combine individual
and teamwork. Special attention attention should be paid to the child’s mastering the methods of sensory examination of objects. The wider the children’s orientation in the most diverse properties of objects
and phenomena, the more vital and imaginative their creativity will be.
In order for a child to express himself naturally and freely in creativity, he must master the simplest artistic means. The teacher's task is to help him with this.
The third (final) stage is characterized by the creation of new products. At this stage, the child begins to be interested in the quality of the products of his creativity and experiences aesthetic pleasure, striving to give them completeness. But the experiences of preschoolers will be even more complete if he is convinced that his work is interesting not only to him, but also to those around him. Therefore, the analysis of children's products carried out by the teacher is so important.
M.V. Fadeeva offers a system that will help determine the level of creative capabilities and methods for developing the creative abilities of children. As criteria for this level, she names such moments as the desire to choose one’s own ideas or topics;
to express them with your own own funds; to organize them using their own methods. On modern stage There is a search for the most effective ways and means of developing children's creativity.
So, the analysis of psychological and pedagogical literature on this issue showed that artistic creativity cannot be carried out without the participation of an adult who helps the child create
and takes on the functions of a critic and partly a creator, i.e. functions that are inaccessible to a preschooler due to his age characteristics
(N.A. Starodubova).
In the development of children's artistic and creative abilities, education and training play a leading role. An adult teaches a child special skills that are the basis for the development of creativity.
Due to lack of or poor training, a “creativity decline” occurs. Only with proper pedagogical guidance and training can high results be achieved.
The concept of “verbal creativity,” according to T.N. Ushakova, can be applied to any case of creativity associated with words.
At the same time, it refers to two, although related, but still fundamentally different areas: creativity in speech and creativity in language. Speech creativity leads to the creation of a new speech product, i.e. a new text, oral or written, of any volume, in any of its forms - prose, poetic, codified, free, monologue, dialogic, etc. Unlike speech, linguistic creativity is associated with processes that lead to transformation in the language system itself - both in an individual and in the national language
The study of the problem of the development of children's verbal creativity, due to the complexity and versatility of the nature of speech phenomena, is closely related to the principles of psychology, linguistics, psycholinguistics and pedagogy.
The psychological aspect includes the peculiarities of perception of a literary work (L.M. Gurovich, A.V. Zaporozhets,
N.S. Karpinskaya, O.I. Nikiforova, S.L. Slavina, O.I. Solovyova,
E.A. Flerina, N.A. Tsivanyuk) and the activities of children’s imagination
(L.A. Wenger, L.S. Vygotsky, O.M. Dyachenko, S.L. Rubinstein,
MM. Rybakov) as the basis of speech creativity. The creation of a speech work occurs as a result of the processing of visual images - ideas obtained during perception, and the translation of selected combinations into the language of verbal signs that adequately reflect the content of the images.
Within the framework of the linguistic approach, a coherent utterance (text) is considered as a product of speech activity, having its own internal structure and categorical characteristics
(S. Gindin, I. R. Galperin, T. M. Dridze, L. A. Kiseleva, L. M. Loseva,
O.I. Moskalskaya, E.A. Referovskaya, G.Ya. Solganik).
Pedagogical studies devoted to the problem of the formation of verbal creativity prove that creative speech activity is successfully carried out in older preschool age under the influence and as a result of special training, an important condition of which is the choice of means (L.M. Voroshnina, E.P. Korotkova,
N.A. Orlanova, O.N. Somkova, E.I. Tikheyeva, O.S. Ushakova, E.A. Fleurina
and others).
Verbal creativity is a process associated with the general development of the child. There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without a child mastering the richness of the language in which he speaks and thinks. Of course, we understand this mastery in accordance with the characteristics of preschool age.
In domestic pedagogy, the problem of verbal creativity of preschool children was considered in the works of E.I. Tikheeva, N.S. Karpinskaya, O.S. Ushakova and others.
In particular, in the study of O.S. Ushakova, the author shows how the development of a poetic ear influences the development of children’s creative verbal activity, helping to cultivate in children a flair for their native word, sensitivity to fiction, and an understanding of the characteristics of genres. And, most importantly, a poetic ear helps children transfer learned words and expressions into their compositions, helps them realize the connection between the content of a literary work and its artistic form, and more subtly sense the beauty of the artistic word.
The development of speech in preschool childhood is a process that is complex in nature, since the developed thinking of a person is speech, language, verbal and logical thinking. Speech becomes figurative, spontaneous and lively if the child develops an interest in linguistic wealth and develops the ability to use a wide variety of expressive means in his speech. The development of figurative speech should take place in unity with other areas of work on the word - lexical, grammatical, phonetic. By the way a child constructs his statement, how interestingly, vividly, figuratively he can tell and compose, one can judge the level of his speech development, his command of the richness of his native language and at the same time the level of his mental, aesthetic and emotional development. Systematic tasks on the use of various means artistic expression lead children to independent verbal creativity.
Quests in the development of children’s verbal creativity can be very different: from composing creative stories to word formation, from organizing observations focused on the imaginative perception of the surrounding reality to inventing new stories about...
At the age of 5-7 years, many children willingly play with words, sounds, compose short poems, counting rhymes and simply meaningless rhymes. The child actively masters linguistic reality, learns grammatical rules and norms, and masters them in the process of practical use of the language.
The basis of children's speech creation is the forms of interaction between a child and an adult, developed by society, and the forms of organizing children's activities. By mastering the language, the child assimilates the stable traditions of his native language and learns speech creation.
A rich vocabulary is a necessary condition for the subsequent development of a child’s speech, during which he learns to isolate words and fill them with meaning. structural elements(roots, suffixes, prefixes, endings), masters the rules of operating them.
Mastery of word formation methods presupposes the ability to find connections and relationships that are essential for naming in objects and phenomena, the ability to compare different names with each other, notice common elements in them that carry the same meaning, independently operate with them and evaluate the accuracy, correctness of what was said or heard. The essence of children's word creation is that it gradually turns into an internal ability to easily and quickly navigate new words and even, if necessary, create them themselves. When mastering word formation methods the most important task is to cultivate interest in words. Special speech games and exercises with grammatical content, organized in kindergarten, will be beneficial only if they are based on the experience of children, their knowledge and ideas about the environment. The range of such knowledge is determined by the program of education and training in kindergarten. Speech proficiency itself becomes a condition for the success of a child’s practical and cognitive activities, a means of communication, thinking, and self-organization.
In older preschool age, children develop keen powers of observation and sensitivity to expressive means language. This makes speech more precise and figurative.
Fiction is of great importance in the education of a person and at the same time it is one of the powerful means of developing and enriching the speech of children; it enriches the emotions of children. Listening to reading and storytelling, children sympathize with the hero, experience with him his adventures, hardships and victories. They are indignant, indignant negative characters, actions. The child’s imagination follows the flow of the story, fairy tale and draws pictures one after another.
Children experience the events described in the book as if they were happening before their eyes; at the same time, the attitude of children to the facts and heroes of the work is revealed.
Preschoolers express their experiences, feelings, and established relationships openly, directly - with facial expressions, gestures, exclamations, remarks (for example, they say about the characters: “that’s what he needs” or “she’s good, kind”).
In older preschool age, children show great creative activity in artistic and speech activities.
This is expressed when they retell the texts of accessible works of art, in the expressive reading of familiar poems, in their own writings - stories, fairy tales.
IN creative storytelling impressions of reality and images of art perceived by the child are reflected. It is necessary to cultivate in children interest and love for the artistic word, for works of children's literature and folk art: fairy tales, stories, poems; make you want to compose and tell your own fairy tale to other children.
Fantasy - prerequisite creative human activity, which is expressed in the construction of an image or a visual model of its results in cases where information is not required (pure fantasy) or is not enough. An example of this can be disparate archival sources, on the basis of which the writer creates a complete work, supplementing possible connections through his own imagination, and also introducing, to the extent possible, a living impression of his talent.
The world of children's fantasy is huge and diverse. Without fantasy and imagination, science would not have developed in our country, and we would have remained in the Stone Age. The first visionary was a man who was able to see a digging stick in a simple stone and moved the entire civilization forward. And the Russian dreams of folk storytellers about a flying carpet and a self-propelled stove, embodied in the construction spaceship and a car? Without imagination, a modern schoolchild would not master a single subject, because he would not be able to construct images in his head and operate with abstract concepts.
The development of fantasy in children occurs in preschool age, and its active development begins after 2.5-3 years, but before this age preparation is still underway. The extent to which a child’s imagination will be developed depends on the period of life he has lived from 1 to 3 years. At this time, kids are not yet playing, but studying the properties of objects, and close people should help with this.
The next stage of fantasy development lasts from 3 to 7 years, and at this age Her Majesty the Game is at the head. And it is through play that children develop attention, perception, memory, intelligence, and imagination. Here, role-playing games in which several people participate are important in the development of imagination. Play should be treated very carefully, because it is considered the leading activity from the ages of 3 to 7 years.
The development of imagination in children also depends on the objects necessary for joint games. But the overabundance of toys in stores, which are very realistic today, unfortunately, prevent children from developing their imagination. Yes, these toys are attractive and beautiful, but they are not able to awaken the imagination due to the fact that they are “completely ready for use.” And parents complain that the baby quickly loses interest in them.
A child needs simplicity for imagination; for its development there must be semi-finished objects - sticks, pieces of paper, pieces of iron, pieces of matter, pebbles. Make it a rule once and for all not to throw away things that belong to him without the child’s knowledge. It wouldn’t even occur to you that a car without wheels is a “secret” device that can lie in a box for months, but the baby still remembers it and, if he doesn’t find it, he will be very upset.
Verbal creativity is one of the types of children's creativity, which allows the child to demonstrate the level of his speech activity, the ability to creatively, expediently, and correctly use language in various situations of life. It has great value for the child as a means of knowledge and self-knowledge, cultural acquisition, self-expression and self-realization.
In research, verbal creativity is defined as the artistic activity of children, which arose under the influence of works of art, as well as impressions from the surrounding life and is expressed in the creation of oral compositions.
The development of verbal creativity in preschoolers is an integral part of the overall development of their creative abilities in various types of artistic activity and affects the cognitive and emotional-volitional spheres of the child.
The development of verbal creativity is carried out initially in speech activity, and is significantly enriched through subsequent inclusion in theatrical and visual activities: children’s speech becomes more expressive, imaginative, and emotionally enriched. In addition, verbal creativity influences the development of various artistic abilities of the child: visual and theatrical (the ability to create a stage image that corresponds to the content of the performance, preparing scenery, costumes, etc.).
Work on the formation of verbal creativity is carried out on the basis of the development of the child’s artistic imagination, his communicative abilities and the development of all aspects of his speech (lexical, grammatical, phonetic).
The starting point for the development of verbal creativity is the formation of a holistic perception of literary works in the unity of their content and artistic form.
Using the method of contamination of various literary works develops the child’s imagination, the ability to create scenarios based on them and then stage performances.
The interrelation of different types of artistic activity of children (speech, visual, musical, theatrical) enriches the child’s creative abilities, helps to correlate the artistic image that arises as a result of the perception of works of art and the creation of their own compositions.
N. Kudykina notes that a large role in the development of children’s verbal creativity should be given to the targeted pedagogical influence of an adult, his educational leadership, which organizes the child’s creative process. Leadership is expressed in creating conditions for the formation of verbal creativity, in identifying the leading, most effective methods, in finding various pedagogical techniques and rationally combining them with the method used. Work is also needed in two main areas:
1) for the general enrichment of the child’s speech;
2) to improve speech in its aesthetic function, including verbal and non-verbal means of expressiveness.
In work to enrich children's speech, the leading method is independent reproduction of the text from memory (retelling). To develop the expressive side of speech, it is necessary to create conditions that allow the child to express his emotions, feelings, and desires to speak publicly.
Modern research on this issue allows us to talk about the wide educational possibilities of theatrical activities. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and correctly posed questions force them to think, analyze, draw conclusions and generalizations. In the process of working on the expressiveness of characters’ remarks and their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of his speech and its intonation structure are improved. The role played and the lines spoken confront the child with the need to express himself clearly, concisely, and intelligibly. His dialogical speech and its grammatical structure improve.
In the temporary requirements for the content and methods of work in preschool educational institution a special section has been highlighted “Child development in theatrical activities”, the criteria of which emphasize that the teacher is obliged to:
Create conditions for the development of children's creative activity in theatrical activities (encourage performing creativity, develop the ability to act freely and relaxed when performing, encourage improvisation through facial expressions, expressive movements and intonations, etc.);
Introduce children to theatrical culture (introduce them to the structure of the theater, theatrical genres);
Ensure the relationship between theatrical and other activities in a single pedagogical process;
Create conditions for joint theatrical activities of children and adults.
The content of theatrical classes includes:
a) viewing puppet shows and conversations on them;
b) dramatization games;
c) acting out various fairy tales and performances;
d) exercises to develop expressiveness of performance (verbal and non-verbal);
e) exercises for the social and emotional development of children.
It should be emphasized that theatrical classes must simultaneously perform cognitive, educational and developmental functions and in no way be reduced only to preparing performances. Their content, forms and methods of implementation should simultaneously contribute to the achievement of three main goals:
1. development of speech and theatrical performance skills;
2. creating an atmosphere of creativity;
3.social and emotional development of children.
Theatrical activities are the most effective means development of verbal creativity in children of senior preschool age. Since the theatrical activity of children is a type of artistic activity, including the execution of one’s own or the author’s plan in dramatizations, dramatization games, and in productions of various types of theater. It is theatrical activity that makes it possible to most fully realize the main directions of work on the development of verbal creativity: public, most expressive independent reproduction of a previously perceived or composed text of a work of art by a child.
For the effective development of verbal creativity, as a type of children's creativity, conditions are necessary that are defined for the development of children's creativity as a whole. Accordingly, the process of developing verbal creativity in the theatrical activities of children of senior preschool age requires compliance with the following pedagogical conditions:
Selection of literary works taking into account possibilities stage embodiment their content;
Conducting special creative tasks that develop children’s theatrical abilities (combining movements with expressive speech, facial expressions and gestures).
Mastery of communication orally, the development of fantasy, imagination and the ability for literary creativity is the most important condition quality preparation for school. An important component of this work is: the development of figurative speech, cultivating interest in the artistic word, and developing the ability to use means of artistic expression in independent expression. Achieving these goals is facilitated by a whole series games and exercises, let's look at some of them.
Game "increase - decrease".
Here's a magic wand, it can increase or decrease anything you want. What would you like to increase and what would you like to decrease?
Here's how the children answer:
I would like to reduce winter and increase summer.
I would like to extend the weekend.
I want to enlarge raindrops to the size of a watermelon.
Let's complicate this game with additional questions:
What would you like to increase and what would you like to decrease? Why do you want to increase or decrease?
Children's answers:
I want to enlarge the candy to the size of a refrigerator so that I can cut off pieces with a knife.
Let your arms temporarily become so long that you can get an apple from a branch, or say hello through a window, or get a ball from the roof.
If the trees in the forest shrink to the size of grass, and the grass to the size of a matchstick, then it will be easy to look for mushrooms.
If it is difficult for a child to fantasize independently, offer to fantasize together and ask him supporting questions.
Game "Bring the Object to Life".
This game involves giving inanimate objects the 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?
Game "Gift".
Children stand in a circle. One is given a box with a bow in his hands and asked to give it to his neighbor with warm words: “I’m giving you a little bunny,” or “I’m giving you a little goat, his horns haven’t grown yet,” or “I’m giving you a big candy,” “There’s a cactus in the box, don't prick yourself."
Game "Change the character's character."
Come up with a fairy tale with such an incredible plot: the fox has become the most simple-minded in the forest, and all the animals are deceiving her.
Game "Zoo".
Participants in the game receive a picture each without showing them to each other. Everyone must describe their animal, without naming it, according to this plan:
1) appearance.
2) where does he live?
3) what does it eat?
Game "Different Eyes".
Describe the aquarium from the point of view of its owner, and then from the point of view of the fish that swims there and the owner’s cat.
Game "Describe the situation."
Participants in the game are given the same plot pictures. They are asked to describe the situation from the point of view of its different participants, whose interests may be opposing. For example, from the point of view of the fox and the hare, the bear and the bees.
Game "Come up with a sequel."
Read the beginning of the fairy tale and ask them to figure out how the events in the fairy tale will develop and how it will end.
Game "How lucky I am."
“How lucky I am,” says the sunflower, “I am like the sun.”
“How lucky I am,” says the potato, “I feed people.”
“How lucky I am,” says the birch tree, “they make fragrant brooms out of me.”
Game "Choose a metaphor."
Metaphor is the transfer of the properties of one object (phenomenon) to another based on a characteristic common to both objects. For example, “talk of waves”, “cold gaze”.
Explain what properties are in the given metaphors and to whom they are transferred.
Soft character. Cheeks are burning. Drowned in twos. Keep a tight rein. Turned green with anger. Annoying as a fly. Hardworking like a bee.
Game "Autobiography".
I will imagine myself as an object, thing or phenomenon and on its behalf I will tell the story. Listen carefully to me and, through leading questions, find out who or what I’m talking about.
“I am in every person’s house. Fragile, transparent. I die from a careless attitude, and it becomes dark not only in the soul... (light bulb).”
Game "Funny rhymes".
Match the words with rhymes.
Candle - stove; pipes - lips; racket - pipette; boots - pies, etc.
People say: “Without imagination there is no consideration.” Albert Einstein said that the ability to imagine is superior to knowledge, because he believed that without imagination it is impossible to make discoveries. 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 need to take advantage of this and develop imagination and imagination from 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. Fantasizing should be interesting. Remember that play is always immeasurably more productive if we use it to put the child in pleasant situations that allow him to perform heroic deeds and, while listening to a fairy tale, see his 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.