Perception fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation.
The perception of fiction by preschool children is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. The child enters into the circumstances depicted, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity extremely expands the sphere of a child’s spiritual life and is important for his mental and moral development. Listening to works of art along with creative games is of utmost importance for the formation of this new type of internal mental activity, without which no creative activity is possible. A clear plot and a dramatized depiction of events help the child to enter into the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.
At one time S.Ya. Marshak wrote in " Great literature for little ones": "If the book has a clear unfinished plot, if the author is not an indifferent recorder of events, but a supporter of some of his heroes and an opponent of others, if the book has a rhythmic movement, and not a dry, rational sequence, if the conclusion from the book is not a free application , and a natural consequence of the whole course of facts, and besides all this, the book can be acted out like a play, or turned into an endless epic, inventing new and new continuations for it, this means that the book is written in a real children's language."
L.S. Slavina showed that with appropriate pedagogical work, it is already possible to arouse interest in the fate of the hero of the story in a pre-preschooler, force the child to follow the course of events and experience feelings that are new to him. In a preschooler one can observe only the beginnings of such assistance and empathy for the characters of a work of art. The perception of a work takes on more complex forms in preschoolers. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts with him, fights his enemies. The activities carried out in this case, especially at the beginning of preschool age, are very close in psychological nature to play. But if in a game the child actually acts in imaginary circumstances, then here both the actions and the circumstances are imaginary.
During preschool age, the development of an attitude towards a work of art goes from the child’s direct naive participation in the depicted events to more complex forms of aesthetic perception, which, for a correct assessment of a phenomenon, require the ability to take a position outside them, looking at them as if from the outside.
So, the preschooler is not egocentric in perceiving a work of art. Gradually, he learns to take the position of a hero, mentally support him, rejoice at his successes and be upset by his failures. Formation in before school age This internal activity allows the child not only to understand phenomena that he does not directly perceive, but also to relate from the outside to events in which he did not directly participate, which is crucial for subsequent mental development.
The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation.
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Educational consortium CENTRAL RUSSIAN UNIVERSITY
MOSCOW HUMANITIES INSTITUTE
Department: Speech Therapy
Coursework in the discipline
"Psychology"
on the topic of:
Features of preschool children's perception of fiction.
Completed by student: Makarenkova M.A. group LZ 10 _________________________________________________
Last name, initials, group, course
Scientific supervisor: Paramonova-Vavakina Z.F. __________________________________________
Academic degree, title, surname, initials
Moscow 2011
Plan
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Introduction
The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation. In the works of L.S. Vygotsky, S.L. Rubinshteina, B.M. Teplova, A.V. Zaporozhets, O.I. Nikiforova, E.A. Flerina, N.S. Karpinskaya, L.M. Gurovich and other scientists explore the peculiarities of the perception of fiction by preschool children. E.A. Fleurina called characteristic feature such perception is the unity of “feeling” and “thinking”.
In poetic images, fiction reveals and explains to the child the life of society and nature, the world of human feelings and relationships. It enriches emotions, cultivates imagination, and gives the child excellent examples of the Russian literary language.
These examples differ in their impact: in stories, children learn conciseness and precision of words; in poetry one captures the musical melodiousness and rhythm of Russian speech; in folk tales, the lightness and expressiveness of the language, the richness of speech with humor, lively and figurative expressions, and comparisons are revealed to children.
Fiction arouses interest in the personality and inner world of the hero. Having learned to empathize with the heroes of the works, children begin to notice the mood of the people around them. Humane feelings are awakened in children - the ability to show participation, kindness, and protest against injustice. This is the basis on which integrity, honesty, and citizenship are brought up. The child’s feelings develop in the process of mastering the language of those works with which the teacher introduces him.
Artistic word helps to understand the beauty of native speech, it teaches him an aesthetic perception of the environment and at the same time forms his ethical (moral) ideas. According to V.A. Sukhomlinsky, reading books is the path along which a skillful, intelligent, thinking teacher finds the way to a child’s heart. Works of literature provide examples of Russian literary speech. According to E.A. Flerina, they provide ready-made linguistic forms, verbal characteristics with which the child operates. By means of the artistic word, even before school, before mastering grammatical rules, the child masters the grammatical norms of the language in unity with its vocabulary.
From the book, the child learns many new words and figurative expressions, his speech is enriched with emotional and poetic vocabulary. Literature helps to express one’s attitude to what one has listened to, using comparisons, metaphors, epithets, and other means of figurative expression, the mastery of which, in turn, serves to develop the artistic perception of literary works.
The educational function of literature is carried out in a special way, inherent only to art - by the force of influence of the artistic image. According to Zaporozhets A.V., aesthetic perception of reality is a complex mental activity, combining both intellectual and emotional-volitional motives. In the methodology, learning to perceive a work of art is considered as an active volitional process with an imaginary transference of events to oneself, a “mental” action with the effect of personal participation.
Due to the fact that the training programs kindergarten familiarization with fiction is provided; knowledge of the peculiarities of preschoolers’ perception of fiction becomes relevant.
Relevance The research topic is determined by the fact that fiction is a powerful, effective means of mental, moral and aesthetic education of children, which has a huge impact on the development and enrichment of their inner world. This determined the topic of our research.
Target research to determine the influence of fiction on preschool children and the characteristics of children’s perception of works of fiction
Object of study- features of perception of preschool children.
Subject of study- features of children’s perception in the process of becoming familiar with fiction.
Hypothesis research: fiction influences children's perceptionswhen selecting works taking into account the age-related psychological characteristics of preschoolers.
Research objectives:
1. Select scientific psychological and pedagogical literature that covers issues of perception of preschool children.
2. Study the main characteristics of children's perception. To identify the peculiarities of preschool children’s perception of works of art.
3. Identify the pedagogical conditions under which fiction will influence children's perception.
Chapter 1. Peculiarities of perception of preschool children
- Perception of preschool children
Perception is a holistic reflection of objects, phenomena, situations and events in their sensually accessible temporal and spatial connections and relationships; the process of forming - through active actions - a subjective image of a holistic object that directly affects the analyzers. Determined by the objectivity of the world of phenomena. Occurs when physical stimuli directly affect the receptor surfaces (-> receptor) of the sense organs. . . Together with the processes of sensation, it provides direct sensory orientation in the external world. Being a necessary stage of cognition, it is always to some extent connected with thinking, memory, and attention.
Elementary forms of perception begin to develop very early, in the first months of a child’s life, as he develops conditioned reflexes to complex stimuli. The differentiation of complex stimuli in children of the first years of life is still very imperfect and differs significantly from the differentiation that occurs at an older age. This is explained by the fact that in children the processes of excitation predominate over inhibition. At the same time, there is a great instability of both processes, their wide irradiation and, as a consequence of this, the inaccuracy and instability of differentiation. Children of preschool and primary school age are characterized by low detail of perceptions and their high emotional intensity. A small child primarily identifies shiny and moving objects, unusual sounds and smells, i.e., everything that causes his emotional and indicative reactions. Due to insufficient experience, he cannot yet distinguish the main and essential features of objects from the secondary ones. The conditioned reflex connections necessary for this arise only as the child interacts with objects during play and activities.
Direct connection between perceptions and actions - characteristic feature and a necessary condition for the development of perception in children. Seeing new item, the child reaches out to it, takes it in his hands and, manipulating with it, gradually highlights its individual properties and aspects. Hence the enormous importance of a child’s actions with objects for the formation of a correct and increasingly detailed perception of them. Great difficulty for children is the perception of the spatial properties of objects. Necessary for their perception is the connection of visual,kinestheticand tactile sensations are formed in children as they become practically familiar with the size and shape of objects and operate with them, and the ability to distinguish distances develops when the child begins to walk independently and move over more or less significant distances. Due to insufficient practice, visual-motor connections in children younger age still imperfect. Hence the inaccuracy of their linear and depth gauges. If an adult estimates the length of lines with an accuracy of 1/10 of the length, then children 2-4 years old - with an accuracy not exceeding 1/20 of the length. Children especially often make mistakes about the size of distant objects, and the perception of perspective in a drawing is achieved only at the end of preschool age and often requires special exercises. Abstract geometric shapes (circle, square, triangle) are associated in the perception of preschoolers with the shape of certain objects (children often call a triangle a “house,” a circle a “wheel,” etc.); and only later, when they learn the names of geometric shapes, do they develop general idea about a given form and correctly distinguish it regardless of other characteristics of objects. Even more difficult for a child is the perception of time. In children 2-2.5 years old it is still quite vague and undifferentiated. The correct use by children of such concepts as “yesterday”, “tomorrow”, “earlier”, “later”, etc. in most cases is observed only at about 4 years of age; The duration of individual periods of time (an hour, half an hour, 5-10 minutes) is often confused by six- to seven-year-old children.
1.2. Development of perception in children
Significant changes in the development of perception in a child occur under the influence verbal communication with adults. Adults introduce the child to surrounding objects, help to highlight their most important and characteristic aspects, teach how to operate with them, answer numerous questions regarding these items. By learning the names of objects and their individual parts, children learn to generalize and differentiate objects according to the most important features. To a large extent, children's perceptions depend on their previous experiences. The more often a child encounters various objects, the more he learns about them, the more fully he can perceive and in the future more correctly reflect the connections and relationships between them. The incompleteness of children's experience, in particular, explains the fact that when perceiving little-known things or drawings, young children are often limited to listing and describing individual objects or their parts and find it difficult to explain their meaning as a whole. Psychologists Binet, Stern and others, who noticed this fact, drew the incorrect conclusion from it that there are strict standards for age-related characteristics of perception, regardless of the content of what is perceived. This is, for example, Binet’s scheme, which establishes three age stages for children’s perception of pictures: from 3 to 7 years old - the stage of listing individual objects, from 7 to 12 years old - the stage of description and from 12 years old - the stage of explanation or interpretation. The artificiality of such schemes is easily revealed if children are presented with pictures with close, familiar content. In this case, even three-year-old children are not limited to simply listing items, but give more or less coherent story, albeit with an admixture of fictitious, fantastic explanations (data from S. Rubinstein and Hovsepyan).Thus, the qualitative originality of the content of children's perception is caused, first of all, by the limitations of children's experience, the insufficiency of systems of temporary connections formed in past experience, and the inaccuracy of previously developed differentiations.The patterns of formation of conditioned reflex connections also explain the close connection of children's perception with the actions and movements of the child. The first years of children's lives are the period of development of basic inter-analyzer conditioned reflex connections (for example, visual-motor, visual-tactile, etc.), the formation of which requires direct movements and actions with objects. At this age, children, while looking at objects, at the same time feel and touch them. Later, when these connections become stronger and more differentiated, direct actions with objects are less necessary, and visual perception becomes a relatively independent process in which the motor component participates in a latent form (mainly eye movements are produced). Both of these stages are always observed, but they cannot be associated with a strictly defined age, since they depend on the living conditions, upbringing and education of the child. Play is important for the development of perception and observation in preschool and primary school age. In the game, children differentiate the various properties of objects - their color, shape, size, weight, and since all this is associated with the actions and movements of children, the game thereby creates favorable conditions for the interaction of various analyzers and for the creation of a multifaceted understanding of objects. Great importance for the development of perception and observation, drawing and modeling are used, during which children learn to correctly convey the contours of objects, distinguish shades of colors, etc. In the process of playing, drawing and performing other tasks, children learn to independently set themselves the task of observation. Thus, already in older preschool age, perception becomes more organized and controllable. In progress school activities In order to develop perception, careful comparisons of objects, their individual aspects, and an indication of the similarities and differences between them are necessary. The independent actions of students with objects and the participation of various analyzers (in particular, not only vision and hearing, but also touch) are of utmost importance. Active, purposeful actions with objects, consistency and systematicity in the accumulation of facts, their careful analysis and generalization - these are the basic requirements for observation, which must be strictly observed by students and teachers. Particular care must be taken to ensure the correctness of observations. At first, schoolchildren's observations may not be detailed enough (which is natural when first becoming familiar with an object or phenomenon), but observations should never be replaced by distortion of facts and their arbitrary interpretation.
Chapter 2. Peculiarities of perception of fiction by preschool children
2.1.Perception of fiction by preschool children
The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation.
The perception of fiction by preschool children is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. The child enters into the circumstances depicted, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity extremely expands the sphere of a child’s spiritual life and is important for his mental and moral development. Listening to works of art along with creative games is of utmost importance for the formation of this new type of internal mental activity, without which no creative activity is possible. A clear plot and a dramatized depiction of events help the child to enter into the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.
At one time, S. Ya. Marshak wrote in “Big Literature for Little Ones”: “If the book has a clear unfinished plot, if the author is not an indifferent recorder of events, but a supporter of some of his heroes and an opponent of others, if the book has a rhythmic movement, and not a dry, rational consistency, if the conclusion from the book is not a free appendix, but a natural consequence of the entire course of facts, and besides all this, the book can be acted out like a play, or turned into an endless epic, inventing new and new continuations for it, then this means that the book is written in real children's language."
L. S. Slavina showed that with appropriate pedagogical work, it is already possible to arouse interest in the fate of the hero of the story in a pre-preschooler, force the child to follow the course of events and experience feelings that are new to him. In a preschooler one can observe only the beginnings of such assistance and empathy for the characters of a work of art. The perception of a work takes on more complex forms in preschoolers. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts with him, fights his enemies. The activities carried out in this case, especially at the beginning of preschool age, are very close in psychological nature to play. But if in a game the child actually acts in imaginary circumstances, then here both the actions and the circumstances are imaginary.
During preschool age, the development of an attitude towards a work of art goes from the child’s direct naive participation in the depicted events to more complex forms of aesthetic perception, which, for a correct assessment of a phenomenon, require the ability to take a position outside them, looking at them as if from the outside.
So, the preschooler is not egocentric in perceiving a work of art. Gradually, he learns to take the position of a hero, mentally support him, rejoice at his successes and be upset by his failures. The formation of this internal activity in preschool age allows the child not only to understand phenomena that he does not directly perceive, but also to relate from the outside to events in which he did not directly participate, which is crucial for subsequent mental development.
2.2. Features and methods of introducing literary works to children of early and preschool age
From the age of 1.5 years, for the development of children's speech, classes begin using artistic words - familiarization with miniature works of folk art, with author's works accessible to children. Based on the rhythmic and melodic structure of the language in nursery rhymes and poems, early perception of the sound culture of speech occurs, when phonemics are not yet perceived. These works of art convey the richness of the native language, the characteristic melodiousness of vowels, the softness of consonants, and the original pronunciation. They solve such problems as the development of auditory attention, speech understanding, the development of the articulatory auditory apparatus, onomatopoeia, activating the vocabulary using onomatopoeia - in nursery rhymes, songs when showing and naming various objects. At the same time, auditory perception, speech breathing, and the vocal apparatus develop, articulation is refined, and the ability to clearly and correctly pronounce words and phrases is developed.
At this age, the teacher works with children individually and in groups of 2-6 people. Before the lesson, teachers prepare visual material that is supposed to be used during reading (toys, dummies, a painting, a portrait, sets of books with illustrations for distribution to children).
For reading and storytelling to be educational, it is necessary to follow the rule so that children see the teacher’s face, and not just listen to the voice. Therefore, one of the tasks is to teach children to listen to a reader or storyteller. Only by learning to listen to someone else’s speech do children gain the ability to remember its content and form, and learn the norms of literary speech. Therefore, when reading from a book, a teacher must learn to look not only at the text, but also from time to time at the children’s faces, meet their eyes, and monitor how they react to reading. The ability to look at children while reading is given to the teacher as a result of persistent training, but even the most experienced reader cannot read a new work “from sight”, without preparation. Therefore, before class, the teacher performs an intonation analysis of the work (“narrator’s readings”) and practices reading aloud.
The teacher mostly reads to the kids by heart - nursery rhymes, short poems, short stories, fairy tales, and only tells prose works(fairy tales, stories, stories).
Reading and storytelling of fiction is carried out strictly according to a specific plan (approximately once a week in each age group), which takes into account socio-political events and the time of year.
The basic rule for organizing reading classes and telling literary works to children is the emotional uplift of the reader and listeners. The teacher creates a positive mood - in front of the children, he carefully handles the book, pronounces the author’s name with respect, and with a few introductory words arouses the children’s interest in what he is going to read or talk about. The colorful cover of a new book, which the teacher shows to the children before they start reading, may also be the reason for their increased attention.
Kids require guidance in listening - the appearance and voice of the narrator should say that at this moment we are talking about something touching and funny. The teacher reads a cheerful text without interrupting himself (comments are allowed only when reading educational books). All words that may be difficult for children to understand should be explained at the beginning of the lesson.
After 2 years (1 junior group preschoolers), the teacher organizes the reading of books with illustrations, drawing the children’s attention to the pictures. With simple text and simple pictures You can read the text, accompanying the reading by showing pictures, or tell the story in your own words. In subsequent classes, the teacher encourages the children not only to look at the pictures, but also to talk about what is written in the book. It can also help kids remember their story about a particular illustration. In case of difficulties, the child turns to the teacher, who organizes an examination and retelling. IN in this case There is joint activity between an adult and a child. Books help establish contacts between adults and children, and between the children themselves. It is important that the child can contact the teacher outside of class. You can talk about the contents of books even in their absence - this develops memory and makes the child think.
Listening and then playing back short stories, poems, folk nursery rhymes, songs for children of the third year of life, where systematically organized storytelling is especially important, teaching people to listen carefully, understand and tell stories independently.
At first, the same story must be repeated several times - both in the same lesson and at short intervals of 2-3 days. Subsequently, while maintaining the main content, the story should be complicated. Complication may come in different directions: the number of actions performed by the characters increases, the location of the action is described, and the relationships that develop between the characters are played out. In order to teach a child to understand a story and develop the ability to retell, it is necessary to organize joint storytelling. First, you should encourage the child to repeat words and phrases after the teacher - then ask questions and teach him to answer them later - ask him to tell them on his own. In this case, the teacher himself needs to lead the story after the child, repeating what he said, and be sure to add what was missed. Then already at the 4th year of life, starting with a simple reproduction of a well-known fairy tale, built on repetition, they move on to retelling the short stories of L.N. Tolstoy (spectacles, dramatization, and individual work are important in preparation).
Before the initial reading of a literary work, you should not make a commitment to memorization. It is important to read expressively, highlighting the dialogues of persons with intonation (help in determining attitudes towards characters and events). A conversation on the content and form of the work includes the teacher asking thoughtful questions (for understanding), finding out how the author describes the phenomenon, what it compares with, what was most remembered, what is unusual - for holistic perception (unity of content and form) - 4-5 questions . Before re-reading, set the stage for careful listening and memorization. In retelling a work by children, artistic and figurative speech is important; if several fairy tales (stories) are given in a lesson, then the children choose and retell one at will, or the children come up with a continuation to the text they read, or compose a story by analogy, or carry out dramatization.
L.M. Gurovich, based on a generalization of scientific data and his own research, examines the age-related characteristics of perception, highlighting 2 periods in their aesthetic development:
from 2 to 5 years, when the child does not clearly separate life from art;
after 5 years, when art (and the art of words) becomes valuable in itself for a child.
Based on the characteristics of perception, the leading tasks of familiarizing with a book are identified at each age stage; younger preschool age is characterized by the dependence of understanding the text on the child’s personal experience, the establishment of easily understood connections, when events follow each other, the main character is in the center of attention. Most often, children do not understand his experiences and motives for his actions. The emotional attitude towards the characters is brightly colored, and there is a craving for a rhythmically organized style of speech.
The range of children's reading and storytelling is determined by the selection criteria of its group of works:
Works of Russian folk art and creativity of the peoples of the world; small forms of folklore (riddles, proverbs, sayings, songs, nursery rhymes, ditties, fables, shifters), fairy tales.
Works of Russian and foreign classical literature:
A.S. Pushkina, L.N. Tolstoy, K.D. Ushinsky, Brothers Grimm, H.K. Andersen, C. Perrault and others.
Works of modern Russian and foreign literature(different genres - stories, tales, fairy tales, poems, lyrical and comic poems, riddles).
An important part of a teacher’s professional training is memorizing works of fiction intended to be read to children and developing expressive reading skills. In the junior preschool age group for better reading or storytelling, the teacher divides the listeners in half.
2.3.The role of the teacher in introducing children to fiction
The methodology of artistic reading and storytelling to children is revealed in monographs, methodological and textbooks. The main methods of familiarization with fiction are:
1.reading by the teacher from the book and by heart (literal transmission of the text, when the reader, preserving the author’s language, conveys all the shades of the writer’s thoughts, affects the mind and feelings of the listeners; a significant part of the literary work is read from the book).
2. narration by the teacher - relatively free transmission of the text (rearrangement of words and the meaning of their interpretation is possible), making it possible to attract the attention of children;
3. dramatization is a means of secondary acquaintance with fiction.
4. learning by heart.
The choice of method of conveying a work (reading or telling) depends on the genre of the work and age group listeners. In the methodology of speech development, two traditional forms of working with books in kindergarten are traditional: reading and storytelling, memorizing poems in class and using literary works and works of oral folk art outside of class, in various activities.
In one lesson, one work is read and 1-2 of those that the children have already heard before. Repeated reading of works in kindergarten is mandatory. Children love to listen to stories, fairy tales, and poems they already know and love. The repetition of emotional experiences does not impoverish perception, but leads to the assimilation of language and, consequently, to a deeper understanding of events and the actions of the characters. Already at primary school age, children have favorite characters, works that are dear to them, and therefore they are pleased with every meeting with these characters.
Kids, of course, may not understand everything in the text of the work, but to be imbued with the feelings expressed in it, they should feel joy, sadness, anger, pity, and then admiration, respect, jokes, ridicule, etc. Simultaneously with the assimilation of feelings expressed in fiction, children also acquire language. This is the basic pattern of speech acquisition and the development of linguistic flair (sense of language).
To read expressively means to express intonation and the whole attitude towards what you are reading about, to evaluate the content of what you are reading from the point of view of its emotional impact. At an early age, not yet understanding speech, children evaluate the nature of its emotion and react to it accordingly. Therefore, expressive reading is both a way to convey the whole gamut of emotions, and a way to develop and improve a child’s feelings.
A certain level of development emotional sphere psyche of children of a particular age level, achieved by means of intonation will allow the teacher to help children learn means of expression vocabulary and grammar (morphology and syntax) at the next stage.
When preparing for a speaker's reading of a text, the teacher puts himself in the position of a listener of a given text, tries to foresee what exactly might make it difficult for his listeners, looks for means of facilitating perception (according to Bogolyubskaya M.K., Shevchenko V.V.): the reader's orthoepy, the strength of his voice, tempo speech (less significant faster), pausing, stress and emotional coloring vote
Kindergarten program according to O.S. Ushakova sets the teacher the task of awakening in children the desire to listen to the telling of fairy tales, reading works of art, to cultivate the ability to follow the development of action in a fairy tale, story, and sympathize with positive characters. Starting from younger groups, it is necessary to introduce children to the distinction between genres. The teacher must name the genre of the literary work. Of course, a deeper understanding of the specifics of genres and their features will occur at an older age. In the younger group, children, hearing the names of genres, simply remember it.
It is necessary to avoid incorrect expressions (“I’ll tell you a fairy tale, a poem”). Genre names must be given clearly and correctly. Fairy tales are told, stories are read, poems are read and memorized. Different literary genres require different types of transmission. Fairy tales for children fourth year it is preferable to tell life rather than read from a book - this enhances the emotional impact, which, in turn, contributes to better understanding the main meaning of the tale. When the teacher looks not at the back, but at the children, he seems to be talking to each child and thereby develops the very important ability to listen and understand monologue speech.
If the content of the tale is small, you can tell it two or even three times, only the brightest parts can be repeated. After the story, it is recommended to invite children to remember the most interesting moments and repeat them in the words of the fairy tale. For example, after listening to the fairy tale “Masha and the Bear,” you can ask: “What did the bear say when he wanted to eat the pie?” - the children, imitating the teacher, answer in a low voice: “I’ll sit on a stump and eat the pie.” The teacher: “What did Mashenka answer to the bear?” - encourages them to remember the words: “I see, I see! Don’t sit on the stump, don’t eat the pie!” By repeating these words, children better assimilate the content of the fairy tale, learn to convey the words of its characters intonationally, and let them repeat the intonations of the teacher for now. This lays the foundation for independent development at an older age.
After listening to the fairy tales “The Wolf and the Little Goats”, “The Cat, the Rooster and the Fox”, you can repeat the songs of the characters. And so that the children learn to answer the teacher’s questions according to the content, he calls the child and offers to repeat the character’s song. Folk tales provide examples of rhythmic speech familiar with the colorfulness and imagery of the native language. Kids easily and quickly remember such images as the golden comb cockerel, baby goats, wolf goat, etc. The repetition of songs by characters in folk tales and the names of heroes fixes these figurative words in the minds of children - they begin to use them in their games.
Z. Alexandrova - instilling a good feeling in little listeners, positive emotions. Their simple content is close personal experience child, expressed in a simple and accessible form: adjacent rhyme, short poetic lines. By repeating them, children grasp the consonance of the lines, the musicality of the verse, easily perceive... and then memorize all the poems. Children of the fourth year of life are especially attracted to poetic works that are distinguished by easy rhyme, rhythm, and musicality. When reading repeatedly, children grasp the meaning of the poem, develop a sense of rhyme and rhythm, remember individual words and expressions, and thereby enrich their feelings.
At this stage, nurturing the sound culture of speech is of great importance - when reading poetry, you need to teach kids to pronounce them slowly, clearly pronouncing each word. Children have a habit of placing stress on rhyming words, so the teacher must place logical stress with particular precision and ensure that the children pronounce the poem correctly.
After reading stories and poems, the content of which is close and accessible to every child, you can remind children of similar facts from their own lives. For example, after reading E. Blashnina’s poem “That’s What Mom Is,” the teacher may ask how the child was dressed up by her mother for the holiday. Let children, when answering questions, construct their statements from only one or two simple sentences- this is already preparation for learning to tell.
Of course, kids shouldn’t be asked a lot of questions - two or three questions each, finding out how they understood the content of the work, what words they remembered, and how this content relates to the child’s personal experience.
Throughout the year, children are repeatedly read familiar stories, fairy tales, poems and rhythmic lines from fairy tales, so that poetic images are better absorbed and not forgotten. Memorizing poems and fairy tales has a great impact on the development of a child’s vocabulary. We must strive to ensure that the words heard by children in class are included in their active vocabulary. To do this, you should repeat them more often in a wide variety of combinations, otherwise the baby will perceive new words simply as a combination of sounds, without comprehending their meaning. The teacher's task is to teach children to understand the words they pronounce, to show how they can be used in combination with other words.
In work practice, sometimes we encounter this approach to familiarizing ourselves with fiction: the teacher expressively and emotionally reads a fairy tale or poem, and that’s where the familiarization ends. Children may well understand the meaning of what they read, but reading does not develop their thoughts - the content of the work and the words they heard are quickly forgotten. Of course, it is very important to maintain a sense of proportion, but working on the work, further repetition of words and expressions that children have remembered and learned is absolutely necessary.
If after each lesson you repeat, consolidate new words, and present them in a wide variety of combinations, children will better master the vocabulary and structure of their native language.
Particular attention should be paid to the formation of the grammar of correct speech, to ensure that when answering questions about the content of literary works, children use words in the correct grammatical form. Thus, familiarization with fiction influences the comprehensive development of speech: the sound culture of speech, grammatical structure, dictionary. Already from early preschool age, the foundations for the development of coherent speech are laid, necessary for the subsequent perception of more complex works, for the further development of speech.
2.4. Peculiarities of perception of fairy tales by preschool children
Speaking about the influence of various types of oral folk art on human life as a whole, one cannot fail to note them special role which they play as children. I would especially like to say about the influence of fairy tales.
To understand the complex and influential role of fairy tales in the aesthetic development of children, it is necessary to understand the uniqueness of children's worldview, which we can characterize as children's mythology, which brings children closer to primitive man and artists. For children, for primitive man, for a real artist, all nature is alive, full of inner rich life - and this feeling of life in nature has, of course, nothing contrived or theoretical in itself, but is directly intuition, a living, convincing education. This feeling of life in nature increasingly needs intellectual design - and fairy tales precisely meet this need of the child. There is another root of fairy tales - this is the work of children's fantasy: being an organ of the emotional sphere, fantasy seeks images to express children's feelings in them, that is, through the study of children's fantasies we can penetrate into the closed world of children's feelings.
Fairy tales play a big role in terms of the harmonious development of personality. What is harmonious development? Harmony is the relationship of all parts of the whole, their interpenetration and mutual transitions. The strengths of the child’s personality seem to pull up the weak ones, raising them to higher levels, forcing the entire complex system - human personality– function more harmoniously and holistically. People's moral ideas and judgments do not always correspond to their moral feelings and actions. Therefore, it is not enough just to know, to understand with one’s head what it means to be moral, and also to only speak out in favor of moral actions, you need to educate yourself and your child in such a way that you want and be able to be one, and this is already the area of feelings, experiences, emotions.
Fairy tales help develop responsiveness and kindness in a child, and make the child’s emotional and moral development controlled and purposeful. Why fairy tales? Yes, because art and literature are the richest source and stimulator of feelings, experiences, and specifically higher feelings, specifically human (moral, intellectual, aesthetic). A fairy tale for a child is not just fiction, fantasy, it is a special reality, the reality of the world of feelings. A fairy tale expands the boundaries for a child ordinary life, only in a fairy tale form do preschoolers encounter such complex phenomena and feelings as life and death, love and hate, anger and compassion, betrayal and deceit, and the like. The form of depiction of these phenomena is special, fabulous, understandable to a child, and the height of the manifestations, the moral meaning, remain genuine, “adults”.
Therefore, the lessons that the fairy tale gives are lifelong lessons for both children and adults. For children, these are incomparable moral lessons; for adults, these are lessons in which the fairy tale reveals its, sometimes unexpected, impact on the child.
Listening to fairy tales, children deeply sympathize with the characters, they have an internal impulse to assist, to help, to protect, but these emotions quickly fade away, since there are no conditions for their realization. True, they are like a battery; they charge the soul with moral energy. It is very important to create conditions, a field of active activity in which the child’s feelings, experienced by him while reading fiction, would find their application, so that the child could assist and really sympathize.
I would like to draw attention to the imagery, depth and symbolism of fairy tales. Parents are often concerned about what to do with scary tales, to read or not to read them to children. Some experts suggest excluding them from the “reading repertoire” for young children altogether. But our kids do not live under a glass bell; they are not always under the saving protection of their father and mother. They must grow up to be brave, persistent and courageous, otherwise they simply will not be able to defend the principles of goodness and justice. Therefore, they need to be taught early, but gradually and deliberately, perseverance and determination, the ability to overcome their own fears. Yes, children themselves strive for this - this is evidenced by “folklore” and scary stories that children of senior preschool and primary school age write and retell to each other.
A child raised on folk tale, feels the measure that the imagination should not exceed in art, and at the same time, the preschooler begins to develop realistic criteria for aesthetic assessments.
In a fairy tale, especially a fairy tale, much is allowed. The characters can find themselves in the most extraordinary situations; animals and even inanimate objects speak and act like people, and perform all sorts of tricks. But all these imaginary circumstances are needed only for objects to reveal their true, characteristic properties. If the typical properties of objects and the nature of the actions performed with them are violated, the child declares that the fairy tale is wrong, that this does not happen. Here, that side of aesthetic perception is revealed that is important for the development of a child’s cognitive activity, since a work of art not only introduces him to new phenomena, expands the range of his ideas, but also allows him to highlight what is essential and characteristic in the subject.
A realistic approach to fairy-tale fiction is developed in a child at a certain stage of development and only as a result of upbringing. Observations by T.I. Titarenko showed that children, without having the appropriate experience, are often ready to agree with any fiction. Only in middle preschool age does a child begin to confidently judge the merits of a fairy tale, based on the plausibility of the events depicted in it. Older preschoolers become so entrenched in this realistic position that they begin to love all sorts of “shifters.” By laughing at them, the child discovers and deepens his correct understanding of the surrounding reality.
Preschool child loves a good fairy tale: the thoughts and feelings evoked by it do not fade away for a long time; they are manifested in subsequent actions, stories, games, and children’s drawings.
What attracts a child to a fairy tale? As A. N. Leontyev rightly points out, for a correct understanding of certain particular mental processes, it is necessary to take into account the nature of the motives that prompt the child to act, the reason for which he performs this operation. These issues are very little covered in traditional psychology. From the point of view, for example, of psychoanalysts, a child’s interest in a fairy tale is due to dark, asocial desires, which, due to the prohibition of adults, cannot manifest themselves in real life and therefore they seek satisfaction in the world of fantastic constructions. K. Bühler believes that in a fairy tale, a child is attracted by a thirst for the unusual, unnatural, a primitive desire for sensation and miracle.
These kinds of theories are in conflict with reality. The enormous influence of properly organized aesthetic perception on spiritual development the child is that this perception not only leads to the acquisition of individual knowledge and skills, to the formation of individual mental processes, but also changes the general attitude towards reality, contributes to the emergence of new, higher motives for the child’s activity.
In preschool age, activity becomes more complex: what it is aimed at and what it is performed for are no longer identical, as they were in early childhood.
New motives of activity, formed in the general course of development of the child as a result of his upbringing, for the first time make possible a real understanding of works of art, penetration into their ideological content. In turn, the perception of a work of art affects further development these motives. Of course, a small child is captivated by the colorfulness of the descriptions or the amusingness of the external situations in which the characters find themselves, but very early on he also begins to be fascinated by the internal, semantic side of the story. Gradually, the ideological content of a work of art is revealed to him.
A work of art captivates a preschooler not only with its external side, but also with its internal, semantic content.
If younger children are not sufficiently aware of the motives of their attitude towards the character and simply declare that this one is good and that one is bad, then older children already justify their assessments, pointing out the social significance of this or that action. Here there is already a conscious assessment of not only external actions, but also internal qualities person, an assessment based on high socially significant motives.
To understand something, a preschool child needs to act in relation to the cognizable object. The only form of activity available to a preschooler is real, actual action. To get to know the subject, Small child must pick it up, fiddle with it, put it in his mouth. For a preschooler, in addition to practical contact with reality, internal activity of the imagination also becomes possible. He can act not only really, but also mentally, not only in directly perceived circumstances, but also in imaginary ones.
Playing and listening to fairy tales create favorable conditions for the emergence and development of the internal activity of the child’s imagination. Here there are, as it were, transitional forms from real, actual action with an object to thinking about it. When a child begins to master this form of activity, new possibilities open up for his knowledge. He can comprehend and experience a number of events in which he did not directly participate, but which he followed through an artistic narrative. Other provisions that do not reach the child’s consciousness, being presented to him in a dry and rational form, are understood by him and deeply touch him when they are clothed in an artistic image. A.P. Chekhov showed this phenomenon remarkably well in the story “At Home.” The moral meaning of an act, if it is expressed not in the form of abstract reasoning, but in the form of real, concrete actions, becomes accessible to the child very early. “The educational significance of works of art,” as B. M. Teplov rightly notes, “first of all lies in the fact that they provide an opportunity to enter “inside life,” to experience a piece of life reflected in the light of a certain worldview. And the most important thing is that in the process of this experience certain attitudes and moral assessments are created that have incomparably greater coercive power than assessments simply communicated and assimilated.”
Conclusion
Children should derive aesthetic, and especially moral (ethical) ideas from works of art.
K.D. Ushinsky said that a child does not only learn conventional sounds when studying his native language, but drinks spiritual life and strength from the native breast of his native language. One must completely trust the educational capabilities of a literary text.
The perception of a work of art is a complex mental process. It presupposes the ability to recognize and understand what is depicted; but this is only a cognitive act. A necessary condition for artistic perception is the emotional coloring of what is perceived, the expression of the attitude towards it (B.M. Teplov, P.M. Yakobson, A.V. Zaporozhets, etc.).
A.V. Zaporozhets noted: “... perception does not come down to a passive statement of certain aspects of reality, even very important and significant ones. It requires that the perceiver somehow enter into the depicted circumstances and mentally take part in the actions.”
The value judgments of preschool children are still primitive, but they indicate the emergence of the ability not only to feel
beautiful, but also to appreciate. When perceiving works of art, it is important not only the general attitude towards the entire work, but also the nature of the attitude, the child’s assessment of individual characters.
A child’s acquaintance with fiction begins with oral folk art - nursery rhymes, songs, then he begins to listen to fairy tales. Deep humanity, extremely precise moral orientation, lively humor, figurative language are the features of these folklore miniature works. Finally, the child is read original fairy tales, stories accessible to him.
The people are unsurpassed teachers of children's speech. In no other works, except folk ones, is there such a pedagogically ideal arrangement of difficult-to-pronounce sounds, such a thoughtful combination of words in a series of words that barely differ from each other in sound (“if there was a blunt-lipped bull, a blunt-lipped bull, the bull had a stupid lip”). Subtle humor of nursery rhymes , teasers, counting rhymes - effective remedy pedagogical influence, a good “cure” for stubbornness, whims, and selfishness.
A journey into the world of a fairy tale develops the imagination of children, and encourages them to write. Children brought up on the best literary examples in the spirit of humanity show themselves to be fair in their stories and fairy tales, protecting the offended and weak, and punishing the evil.
For children of early and junior preschool age, the teacher mainly reads by heart (rhymes, poems, stories, fairy tales). Only prose works (fairy tales, short stories, stories) are told. Therefore, an important part of professional training is memorizing works of fiction intended for reading to children, developing expressive reading skills - a way to convey the full range of emotions, developing and improving the child’s feelings.
It is important to form in children a correct assessment of the characters in a work of art. Effective assistance Conversations can help with this, especially using problematic questions. They lead the child to understand the “second” previously hidden from them, true face characters, the motives of their behavior, to an independent reassessment of them (in the case of an initial inadequate assessment).
E.A. Fleurina noted the naivety of children's perception - children do not like a bad ending, the hero must be lucky, kids do not want even a stupid mouse to be eaten by a cat. Artistic perception develops and improves throughout preschool age.
A preschooler's perception of works of art will be deeper if he learns to see the elementary means of expression used by the author to characterize the depicted reality (color, color combinations, shape, composition, etc.).
Target literary education preschoolers, according to
S.Ya. Marshak in the formation of the future of a great and talented writer, a cultured, educated person. The tasks and content of the introduction are determined on the basis of knowledge of the characteristics of perception and understanding of works of literature and are presented in the kindergarten program.
Summarized it is:
Cultivate interest in fiction, the ability to holistically perceive works of different genres, assimilate the content of works and emotional responsiveness to it.
To form initial ideas about the features of fiction: about genres (prose, poetry), about their specific features; about composition, about the simplest elements of imagery in language;
To educate literary artistic taste, the ability to understand the mood of works, to capture the musicality, sonority, rhythm, beauty and poetry of a story, fairy tale, verse, to develop a poetic ear.
Bibliography
Alekseeva M.M., Yashina V.I. Methods of speech development and teaching the native language of preschoolers: Textbook. manual for students of the environment. ped. establishments. -M.: Academy, 1997. - 400 p. |
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Vygotsky L.S. , Bozhovich L.I., Slavina L.S., Endovitskaya T.V. Experience in experimental study of voluntary behavior. //- Questions of psychology. 1976. N4. P.55-68. |
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Vygotsky L. S. Thinking and speech. Psychological research / ed. and from the entrance. article by V. Kolbansky. - M.-L., 1934. – 510c |
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Gurovich L.M., Beregovaya L.B., Loginova V.I. The child and the book: a book for children's educators. garden, ed. IN AND. Loginova/. - M., 1992-214 p. |
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Childhood: a program for the development and education of children in kindergarten / V.I. Loginova, T.I. Babaeva, etc. - M.: Detstvo-Press, 2006. - 243 p. |
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Zaporozhets A.V. Psychology of a preschool child’s perception of a literary work // Izbr. psychological works.- M., 1996.- T.1.-66s. |
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Karpinskaya N.S. Artistic language in raising children (early and preschool age). – M.: Pedagogy, 1972. –143 p. |
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Korotkova, E. P. Teaching preschool children storytelling, - M.: Enlightenment, 1982. – 128 p. |
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Luria A.R. Lectures on general psychology, - St. Petersburg: Peter, 2006. –320 p. |
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Maksakov A.I. Does your child speak correctly / A.I. Maksakov. M. Education, 1982. – 160 p. |
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Psychological science and education - 1996 - No. 3. - 32 p. |
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Rainbow. Program for upbringing, education and development of preschool children in a kindergarten / T.N. Doronova, S. Jacobson, E. Solovyova, T. Grizik, V. Gerbova. - M.: Education, 2003. - 80 p. |
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Rozhina L.N. Psychology of raising a literary hero by schoolchildren / L.N. Rozhina - M.: Education. - 1977. - 158 p. |
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Philosophical encyclopedic dictionary. - INFRA-M, 2006- P.576. |
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- Introduction
- Conclusion
- Annex 1
Introduction
One of the main causes of problems in modern society is the low level of culture of its members. An important part general culture is a culture of behavior. Norms of behavior determine what is generally accepted and acceptable in the actions of a member of society, and what is not. Uniform and generally accepted rules ensure high level relationships and communication in society.
The culture of behavior is an important part of universal human culture, ethics, morality. Therefore, it is so important to teach a child to distinguish between good and evil everywhere and in everything, to respect others and treat them the way he would like to be treated, to instill in the child a sense of justice. By instilling cultural behavior skills in a child, we contribute to the development of society. Research by V.I. Loginova, M.A. Samorukova, L.F Ostrovskaya, S.V. Peterina, L.M. Gurovich show that one of the most effective means of instilling a culture of behavior in children of senior preschool age is fiction. Fiction influences the child’s feelings and mind, develops his sensitivity, emotionality, consciousness and self-awareness, shapes his worldview, and motivates behavior.
In psychology, the perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation. E.A. Fleurina called the unity of “feeling” and “thinking” a characteristic feature of such perception.
In poetic images, fiction reveals and explains to the child the life of society and nature, the world of human feelings and relationships. It enriches emotions, cultivates imagination, and gives the child excellent examples of the Russian literary language.
Fiction arouses interest in the personality and inner world of the hero. Having learned to empathize with the heroes of the works, children begin to notice the mood of the people around them. Humane feelings are awakened in children - the ability to show participation, kindness, and protest against injustice. This is the basis on which integrity, honesty, and citizenship are brought up. The child’s feelings develop in the process of mastering the language of those works with which the teacher introduces him.
The artistic word helps to understand the beauty of the native speech, it teaches him the aesthetic perception of the environment and at the same time forms his ethical (moral) ideas. According to V.A. Sukhomlinsky, reading books is the path along which a skillful, intelligent, thinking teacher finds the way to a child’s heart.
The educational function of literature is carried out in a special way, inherent only to art - by the force of influence of the artistic image. According to Zaporozhets A.V., aesthetic perception of reality is a complex mental activity that combines both intellectual and emotional-volitional motives. Learning to perceive a work of art in psychology and pedagogy is considered as an active volitional process with an imaginary transference of events to oneself, a “mental” action with the effect of personal participation.
The relevance of the research topic is determined by the fact that fiction is a powerful, effective means of mental, moral and aesthetic education of children, which has a huge impact on the development and enrichment of their inner world.
fiction preschool perception
Purpose of the study: to identify the characteristics of children’s perception of fiction.
The object of the study is the perception of preschool children.
The subject of the study is the peculiarities of perception of fiction by preschool children.
The hypothesis of the study was the assumption that the perception of fiction can influence the cultural behavior of children when selecting works, taking into account the content of the work and the age-related psychological characteristics of preschoolers.
Research objectives:
1. Select and study scientific psychological and pedagogical literature on the problem under consideration.
2. Analyze the main characteristics of children’s perception and the characteristics of preschool children’s perception of works of art.
3. Conduct an experimental study of the characteristics of preschool children’s perception of fiction.
Research methods: theoretical analysis of psychological, pedagogical and specialized literature; methods of observation and comparison, quantitative and qualitative processing of collected materials.
The methodological basis for the study was the works
L.S. Vygotsky, S.L. Rubinshteina, B.M. Teplova, A.V. Zaporozhets, O.I. Nikiforova, E.A. Flerina, N.S. Karpinskaya, L.M. Gurovich and other scientists.
Practical significance: the results obtained can be used in the work of practical psychologists, educators and parents of children when solving problems of forming the personality of a preschooler.
Research base: MBDOU "Child Development Center kindergarten No. 1 "Rucheyok" Anapa.
Structure of the work: the work consists of an introduction, two chapters, a conclusion, and a list of references from 22 sources.
Chapter 1. Dynamics of perception during preschool childhood
1.1 Perception of preschool children
Perception is a holistic reflection of objects, phenomena, situations and events in their sensually accessible temporal and spatial connections and relationships; the process of forming - through active actions - a subjective image of a holistic object that directly affects the analyzers. Determined by the objectivity of the world of phenomena. Occurs when physical stimuli directly affect the receptor surfaces of the sense organs. Together with the processes of sensation, it provides direct sensory orientation in the external world. Being a necessary stage of cognition, it is always to some extent connected with thinking, memory, and attention.
Elementary forms of perception begin to develop very early, in the first months of a child’s life, as he develops conditioned reflexes to complex stimuli. The differentiation of complex stimuli in children of the first years of life is still very imperfect and differs significantly from the differentiation that occurs at an older age. This is explained by the fact that in children the processes of excitation predominate over inhibition. At the same time, there is a great instability of both processes, their wide irradiation and, as a consequence of this, the inaccuracy and instability of differentiation. Children of preschool and primary school age are characterized by low detail of perceptions and their high emotional intensity. A small child primarily identifies shiny and moving objects, unusual sounds and smells, i.e. everything that causes his emotional and indicative reactions. Due to insufficient experience, he cannot yet distinguish the main and essential features of objects from the secondary ones. The conditioned reflex connections necessary for this arise only as the child interacts with objects during play and activities.
The direct connection between perceptions and actions is a characteristic feature and a necessary condition for the development of perception in children. Seeing a new object, the child reaches out to it, takes it in his hands and, manipulating it, gradually identifies its individual properties and aspects. Hence the enormous importance of a child’s actions with objects for the formation of a correct and increasingly detailed perception of them. Great difficulty for children is the perception of the spatial properties of objects. The connection between visual, kinesthetic and tactile sensations necessary for their perception is formed in children as they become practically familiar with the size and shape of objects and operate with them, and the ability to distinguish distances develops when the child begins to walk independently and move over more or less significant distances. Due to insufficient practice, visual-motor connections in young children are still imperfect. Hence the inaccuracy of their linear and depth gauges. If an adult estimates the length of lines with an accuracy of 1/100 of the length, then children 2-4 years old - with an accuracy of not exceeding 1/20 of the length. Children especially often make mistakes about the size of distant objects, and the perception of perspective in a drawing is achieved only at the end of preschool age and often requires special exercises. Abstract geometric shapes (circle, square, triangle) are associated in the perception of preschoolers with the shape of certain objects (children often call a triangle a “house,” a circle a “wheel,” etc.); and only later, when they learn the name of geometric figures, do they develop a general idea of this form and correctly distinguish it regardless of other characteristics of objects. Even more difficult for a child is the perception of time. In children 2-2.5 years old it is still quite vague and undifferentiated. Correct use by children of concepts such as “yesterday”, “tomorrow”, “earlier”, “later”, etc. in most cases it is observed only for about 4 years; The duration of individual periods of time (an hour, half an hour, 5-10 minutes) is often confused by six- and seven-year-old children.
Significant changes in the development of perception in a child occur under the influence of verbal communication with adults. Adults introduce the child to surrounding objects, help to highlight their most important and characteristic aspects, teach them how to operate with them, and answer numerous questions regarding these objects. By learning the names of objects and their individual parts, children learn to generalize and differentiate objects according to the most important features. To a large extent, children's perceptions depend on their previous experiences. The more often a child encounters various objects, the more he learns about them, the more fully he can perceive and in the future more correctly reflect the connections and relationships between them.
The incompleteness of children's experience, in particular, explains the fact that when perceiving little-known things or drawings, young children are often limited to listing and describing individual objects or their parts and find it difficult to explain their meaning as a whole. Psychologists Binet, Stern and some others, who noticed this fact, drew from it the incorrect conclusion that there are strict standards for age-related characteristics of perception, regardless of the content of what is perceived. This is, for example, Binet’s scheme, which establishes three age stages for children’s perception of pictures: from 3 to 7 years old - the stage of listing individual objects, from 7 to 12 years old - the stage of description and from 12 years old - the stage of explanation or interpretation. The artificiality of such schemes is easily revealed if children are presented with pictures with close, familiar content. In this case, even three-year-old children are not limited to simply listing objects, but give a more or less coherent story, albeit with an admixture of fictitious, fantastic explanations (S. Rubinstein and Hovsepyan). Thus, the qualitative originality of the content of children's perception is caused, first of all, by the limitations of children's experience, the insufficiency of systems of temporary connections formed in past experience, and the inaccuracy of previously developed differentiations. The patterns of formation of conditioned reflex connections also explain the close connection of children's perception with the actions and movements of the child.
The first years of children's lives are the period of development of basic inter-analyzer conditioned reflex connections (for example, visual-motor, visual-tactile, etc.), the formation of which requires direct movements and actions with objects. At this age, children, while looking at objects, at the same time feel and touch them. Later, when these connections become stronger and more differentiated, direct actions with objects are less necessary, and visual perception becomes a relatively independent process in which the motor component participates in a latent form (mainly eye movements are produced). Both of these stages are always observed, but they cannot be associated with a strictly defined age, since they depend on the living conditions, upbringing and education of the child.
Play is important for the development of perception and observation in preschool and primary school age. In the game, children differentiate the various properties of objects - their color, shape, size, weight, and since all this is associated with the actions and movements of children, the game thereby creates favorable conditions for the interaction of various analyzers and for the creation of a multifaceted understanding of objects. Drawing and modeling are of great importance for the development of perception and observation, during which children learn to correctly convey the contours of objects, distinguish shades of colors, etc. In the process of playing, drawing and performing other tasks, children learn to independently observe, compare, and evaluate size, shape, and color. Thus, already in older preschool age, perception becomes more organized and controllable. In the process of schoolwork, in order to develop perception, careful comparisons of objects, their individual aspects, and an indication of the similarities and differences between them are necessary. The independent actions of students with objects and the participation of various analyzers (in particular, not only vision and hearing, but also touch) are of utmost importance. Active, purposeful actions with objects, consistency and systematicity in the accumulation of facts, their careful analysis and generalization - these are the basic requirements for observation, which must be strictly observed by students and teachers. Particular care must be taken to ensure the correctness of observations. At first, schoolchildren's observations may not be detailed enough (which is natural when first becoming familiar with an object or phenomenon), but observations should never be replaced by distortion of facts and their arbitrary interpretation.
1.2 Perception of fiction by preschool children
The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation.
The perception of fiction by preschool children is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. The child enters into the circumstances depicted, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity extremely expands the sphere of a child’s spiritual life and is important for his mental and moral development. Listening to works of art along with creative games is of utmost importance for the formation of this new type of internal mental activity, without which no creative activity is possible. A clear plot and a dramatized depiction of events help the child to enter into the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.
At one time S.Ya. Marshak wrote in “Great Literature for Little Ones”: “If the book has a clear unfinished plot, if the author is not an indifferent recorder of events, but a supporter of some of his heroes and an opponent of others, if the book has a rhythmic movement, and not a dry, rational sequence, if the conclusion from the book is not a free addition, but a natural consequence of the entire course of facts, and besides all this, the book can be acted out like a play, or turned into an endless epic, inventing new and new continuations for it, this means that the book is written in real children's language language"
L.S. Slavina showed that with appropriate pedagogical work, it is already possible to arouse interest in the fate of the hero of the story in a pre-preschooler, force the child to follow the course of events and experience feelings that are new to him. In a preschooler one can observe only the beginnings of such assistance and empathy for the characters of a work of art. The perception of a work takes on more complex forms in preschoolers. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts with him, fights his enemies. The activities carried out in this case, especially at the beginning of preschool age, are very close in psychological nature to play. But if in a game the child actually acts in imaginary circumstances, then here both the actions and the circumstances are imaginary.
During preschool age, the development of an attitude towards a work of art goes from the child’s direct naive participation in the depicted events to more complex forms of aesthetic perception, which, for a correct assessment of a phenomenon, require the ability to take a position outside them, looking at them as if from the outside.
So, the preschooler is not egocentric in perceiving a work of art. Gradually, he learns to take the position of a hero, mentally support him, rejoice at his successes and be upset by his failures. The formation of this internal activity in preschool age allows the child not only to understand phenomena that he does not directly perceive, but also to relate from the outside to events in which he did not directly participate, which is crucial for subsequent mental development.
1.3 Peculiarities of perception of fairy tales by preschool children
Speaking about the influence of various types of oral folk art on human life in general, one cannot fail to note their special role that they play in childhood. It is especially necessary to say about the influence of the fairy tale.
To understand the complex and influential role of fairy tales in the aesthetic development of children, it is necessary to understand the uniqueness of children's worldview, which we can characterize as children's mythology, which brings children closer to primitive man and artists. For children, for primitive man, for a real artist, all nature is alive, full of inner rich life - and this feeling of life in nature has, of course, nothing far-fetched, theoretical, but is directly intuition, a living, convincing education. This feeling of life in nature increasingly needs intellectual design - and fairy tales precisely meet this need of the child. There is another root of fairy tales - this is the work of children's fantasy: being an organ of the emotional sphere, fantasy searches for images to express children's feelings in them, that is, through the study of children's fantasies we can penetrate into the closed world of children's feelings.
Fairy tales play a big role in terms of the harmonious development of personality. What is harmonious development? Harmony is a consistent relationship between all parts of the whole, their interpenetration and mutual transitions. The strengths of the child’s personality seem to pull up the weak ones, raising them to higher levels, forcing the entire complex system - the human personality - to function more harmoniously and holistically. People's moral ideas and judgments do not always correspond to their moral feelings and actions. Therefore, it is not enough to just know, understand “in your head” what it means to be moral, and also just speak out in favor of moral actions, you need to educate yourself and your child in such a way as to want and be able to be one, and this is already the area of feelings, experiences, emotions.
Fairy tales help develop responsiveness and kindness in a child, and make the child’s emotional and moral development controlled and purposeful. Why fairy tales? Yes, because art and literature are the richest source and stimulator of feelings, experiences, and precisely the highest feelings, specifically human (moral, intellectual, aesthetic). A fairy tale for a child is not just fiction, fantasy, it is a special reality, the reality of the world of feelings. A fairy tale expands the boundaries of ordinary life for a child; only in a fairy tale form do preschoolers encounter such complex phenomena and feelings as life and death, love and hate, anger and compassion, betrayal and deceit, and the like. The form of depiction of these phenomena is special, fabulous, understandable to a child, and the height of the manifestations, the moral meaning, remain genuine, “adults”.
Therefore, the lessons that the fairy tale gives are lifelong lessons for both children and adults. For children, these are incomparable moral lessons; for adults, these are lessons in which the fairy tale reveals its, sometimes unexpected, impact on the child.
Listening to fairy tales, children deeply sympathize with the characters, they have an internal impulse to assist, to help, to protect, but these emotions quickly fade away, since there are no conditions for their realization. True, they are like a battery; they charge the soul with moral energy. It is very important to create conditions, a field of active activity in which the child’s feelings, experienced by him while reading fiction, would find their application, so that the child could assist and really sympathize. I would like to draw attention to the imagery, depth and symbolism of fairy tales. Parents are often concerned about the question of what to do with scary fairy tales, whether to read them or not to read them to their children. Some experts suggest excluding them altogether from the “reading repertoire” for young children. But our kids do not live under a glass bell; they are not always under the saving protection of their father and mother. They must grow up to be brave, persistent and courageous, otherwise they simply will not be able to defend the principles of goodness and justice. Therefore, they need to be taught early, but gradually and deliberately, perseverance and determination, the ability to overcome their own fears. Yes, children themselves strive for this - this is evidenced by “folklore” and scary stories that children of senior preschool and primary school age write and retell to each other.
A child brought up on a folk tale feels the limits that the imagination should not exceed in art, and at the same time, the preschooler begins to develop realistic criteria for aesthetic assessments.
In a fairy tale, especially a fairy tale, much is allowed. The characters can find themselves in the most extraordinary situations; animals and even inanimate objects speak and act like people, and perform all sorts of tricks. But all these imaginary circumstances are needed only for objects to reveal their true, characteristic properties. If the typical properties of objects and the nature of the actions performed with them are violated, the child declares that the fairy tale is wrong, that this does not happen. Here, that side of aesthetic perception is revealed that is important for the development of a child’s cognitive activity, since a work of art not only introduces him to new phenomena, expands the range of his ideas, but also allows him to highlight what is essential and characteristic in the subject.
A realistic approach to fairy-tale fiction is developed in a child at a certain stage of development and only as a result of upbringing. Observations by T.I. Titarenko showed that children, without having the relevant experience, are often ready to agree with any fiction. Only in middle preschool age does a child begin to confidently judge the merits of a fairy tale, based on the plausibility of the events depicted in it. Older preschoolers become so entrenched in this realistic position that they begin to love all sorts of “shifters.” By laughing at them, the child discovers and deepens his correct understanding of the surrounding reality.
A preschool child loves a good fairy tale: the thoughts and feelings evoked by it do not fade away for a long time, they manifest themselves in subsequent actions, stories, games, and children’s drawings.
What attracts a child to a fairy tale? As A.N. rightly points out. Leontyev, for a correct understanding of certain private mental processes, it is necessary to take into account the nature of the motives that prompt the child to act, the reason for which he performs this operation. These issues are very little covered in traditional psychology. From the point of view, for example, of psychoanalysts, a child’s interest in a fairy tale is due to dark, asocial desires, which, due to the prohibition of adults, cannot manifest themselves in real life and therefore seek satisfaction in the world of fantastic constructions. K. Bühler believes that in a fairy tale, a child is attracted by a thirst for the unusual, unnatural, a primitive desire for sensation and miracle.
These kinds of theories are in conflict with reality. The enormous influence of properly organized aesthetic perception on the spiritual development of a child lies in the fact that this perception not only leads to the acquisition of individual knowledge and skills, to the formation of individual mental processes, but also changes the general attitude towards reality, contributes to the emergence of new, higher motives for the child’s activities .
In preschool age, activity becomes more complex: what it is aimed at and what it is performed for are no longer identical, as they were in early childhood.
New motives of activity, formed in the general course of a child’s development as a result of his upbringing, make possible for the first time a real understanding of works of art and insight into their ideological content. In turn, the perception of a work of art influences the further development of these motives. Of course, a small child is captivated by the colorfulness of the descriptions or the amusingness of the external situations in which the characters find themselves, but very early on he also begins to be fascinated by the internal, semantic side of the story. Gradually, the ideological content of a work of art is revealed to him.
A work of art captivates a preschooler not only with its external side, but also with its internal, semantic content.
If younger children are not sufficiently aware of the motives of their attitude towards the character and simply declare that this one is good and that one is bad, then older children already justify their assessments, pointing out the social significance of this or that action. Here there is a conscious assessment of not only external actions, but also the internal qualities of a person, an assessment based on high socially significant motives.
To understand something, a preschool child needs to act in relation to the cognizable object. The only form of activity available to a preschooler is real, actual action. In order to become familiar with an object, a small child must pick it up, tinker with it, and put it in his mouth. For a preschooler, in addition to practical contact with reality, internal activity of the imagination also becomes possible. He can act not only really, but also mentally, not only in directly perceived circumstances, but also in imaginary ones.
Playing and listening to fairy tales create favorable conditions for the emergence and development of the internal activity of the child’s imagination. Here there are, as it were, transitional forms from real, actual action with an object to thinking about it. When a child begins to master this form of activity, new possibilities open up for his knowledge. He can comprehend and experience a number of events in which he did not directly participate, but which he followed through an artistic narrative. Other provisions that do not reach the child’s consciousness, being presented to him in a dry and rational form, are understood by him and deeply touch him when they are clothed in an artistic image. A.P. showed this phenomenon remarkably well. Chekhov in the story "At Home". The moral meaning of an act, if it is expressed not in the form of abstract reasoning, but in the form of real, concrete actions, becomes accessible to the child very early. “The educational significance of works of art,” as B.M. Teplov rightly notes, “is, first of all, that they provide an opportunity to enter “inside life,” to experience a piece of life reflected in the light of a certain worldview. And the most important thing is that In the process of this experience, certain relationships and moral assessments are created that have incomparably greater coercive power than assessments simply communicated and assimilated."
Chapter 2. Experimental identification of features of the perception of fiction by preschool children
2.1 Experimental sample, base and theoretical justification of the experiment
The experimental work was carried out at the MBDOU "Child Development Center - Kindergarten No. 1" Anapa with children of senior preschool age in the amount of 15 people for a week. The theoretical concept of the experimental part of the work was the connection between the perception of fiction and the education of a child’s culture of behavior, i.e. the idea that fiction should be one of the most important means of education. That is why in all developmental programs of preschool institutions, great attention is paid to working with fiction. Using fiction as a means of instilling a culture of behavior, the teacher must pay attention to Special attention on the selection of works, the methodology of reading and conducting conversations on works of art in order to form humane feelings and ethical ideas in children, on the transfer of these ideas into the lives and activities of children (to what extent are children’s feelings awakened by art reflected in their activities, in their communication with others people).
The purpose of the ascertaining experiment was to identify the level of development of behavioral culture skills in children of senior preschool age.
We set the following tasks:
Conduct a conversation with teachers;
Have a conversation with the children;
Conduct a survey of parents;
Observe the behavior of children in a preschool educational institution;
To develop criteria for the level of development of cultural behavior skills in children of senior preschool age.
2.2 Conducting the experiment and analyzing the results obtained
To solve these problems, we conducted a conversation with teachers and children, surveyed parents, observed children’s behavior, and analyzed methodological recommendations on issues of developing a culture of behavior in preschool children.
When conducting a conversation with educators, we sought to find out whether they use fiction in their work to instill a culture of behavior in children.
In a conversation with teachers, we found out that they consider it important and necessary to work on instilling a culture of behavior in children in kindergarten. Fiction is considered one of the main means of instilling a culture of behavior. They easily gave examples of fairy tales, stories, and sayings used to instill a culture of behavior (for example, “The Magic Word” by Oseeva, “The Adventures of Dunno and His Friends” by Nosov, etc.).
Thus, based on the conversation, we can conclude that educators understand the meaning and importance of instilling a culture of behavior in preschoolers and use works of fiction in their work.
We conducted a survey of parents. Data analysis shows that parents understand behavioral culture narrowly - mainly as the ability to behave in public places. Work is underway to foster a culture of behavior in the family, but parents use a limited range of means. In particular, no one mentioned personal example as a means of instilling a culture of behavior. All parents read works of fiction to their children, but some do not realize their importance for instilling a culture of behavior in children.
A conversation with children showed that all children consider themselves cultured. However, in their opinion, to be cultured means to say hello when meeting, to be polite in dealing with elders. Only one child said that cultured person, this is the one who speaks politely with both adults and peers, looks neat, knows how to behave in public places, at the table. That is, children do not fully understand the concept of “cultural” and we should continue to work in this direction.
We also observed the behavior of children, namely their communication culture, activity culture, cultural and hygienic skills and relationship culture.
By cultural and hygienic skills we mean actions related to maintaining cleanliness and order. Let us conditionally divide them into four types: personal hygiene skills, nutritional culture skills, careful attitude to things and skills to maintain order and cleanliness in the environment.
Observation showed that most children wash their hands on their own, without a teacher’s reminder, after a walk or before eating. At the table, the children sit carefully, do not make noise, only two children talk during meals and turn to other children. After a walk, not all children neatly fold their clothes; most children do this only after a reminder from the teacher, and Katya Ch. refuses to tidy up her closet. Many children do not handle books, things, toys with care, throw them away, and do not put them back in their place. Only after repeated requests from the teacher do children restore order in the group room, in the kindergarten area.
By culture of communication we understand the totality of formed socially significant qualities of a person that determine the way of his existence and the ability to make changes in reality.
All children, without exception, greet and say goodbye to adults and use polite forms of address, such as “please” and “thank you”. However, half of children do not use these peer communication skills. Some children do not consider it necessary to greet children in the group or address them politely. It should be noted that children address each other by name and do not call each other names.
We observed the culture of activity during classes, in games, and in carrying out work assignments.
Children getting ready for class necessary equipment- take out pens, notepads, etc., put away workplace after class. However, most children do this reluctantly, obeying the teacher’s demands. Matvey Sh., Vlad K. and Matvey A. are happy to help the teacher clean up the group after classes, for example, wash cups and brushes after drawing, clean boards from plasticine, etc. Children have a craving for interesting, meaningful activities. They know how to select game material in accordance with the game plan.
Observing the culture of relationships, we found out the following. Children do not always obey the teacher's demands. Matvey A. and Anya P. often interrupt the teacher and interfere in the conversation of adults. In play, children are able to negotiate joint actions and resolve conflict situations, often without the participation of a teacher. Children don't fight if they arise controversial issues, many discuss the situation and come to a common opinion, only sometimes resorting to the help of an adult to resolve the conflict.
Low level - the child knows how to keep in order the place where he works, studies, plays, but he does not have the habit of finishing the work he has started; he does not always treat toys, things, books with care. The child has no interest in meaningful activities. The child often neglects hygiene rules. When communicating with adults and peers, he behaves at ease and does not always use the appropriate vocabulary and standards of address. Does not know how to constructively resolve conflicts without taking into account the interests of a peer. Does not know how to negotiate joint actions. Refuses to come to the aid of an adult or another child.
Average level - children have a pronounced habit of finishing what they start; treat toys, things, books with care. Children are already consciously interested in something new and are more active in classes. In the process of communicating with adults, children are based on respect, friendly contact, and cooperation, but this is not always manifested in communication with peers. Children are more independent, they have a good vocabulary, which helps them express their thoughts and emotions. They always try to comply with hygiene requirements: they monitor the neatness, maintenance of the face, hands, body, hairstyle, clothes, shoes, etc. Children try to resolve the conflict by listening to the opinion of the other child, but continuing to insist on their own. Children are not always able to agree on joint actions; they prefer that others accept their point of view, but sometimes they give in. Help other children or adults at the request of the teacher, without showing independent initiative.
When identifying the level of development of cultural and hygienic skills, we paid attention to whether children are neatly dressed, whether they wash their hands and do this on their own or at the teacher’s reminder. We observed whether children treated books, things, and toys with care.
When determining the level of communication culture, we observed how the child behaves during a conversation, what forms of address he uses, and whether he knows how to listen to his interlocutor.
When determining the level of development of a culture of activity, we paid attention to how the child organizes his workplace, time, whether he cleans up after himself, and what types of activities he prefers to engage in.
When identifying the level of culture of relationships, we first of all paid attention to how the child interacts with other children and adults, agrees on joint actions, resolves conflict situations, and whether he complies with the norms of cultural behavior.
To identify the level of development of cultural behavior skills in each child, a scale was introduced in points from 1 to 5:
1 - low level;
2-3 - average level;
4-5 - high level.
The results are presented in Table 1.
Analysis of the table results showed that 46% of children have a high level of development of cultural behavior skills, 46% have an average level, and only 1 child (which is 6% of the number of children) has a low level.
The table also shows that children have the best developed culture of relationships with peers, and the least developed culture of activity.
Thus, the results of the experimental work allowed us to indirectly identify the features and level of completeness of preschool children’s perception of fiction.
Conclusion
Children should derive aesthetic, and especially moral (ethical) ideas from works of art.
K.D. Ushinsky said that a child does not only learn conventional sounds when studying his native language, but drinks spiritual life and strength from the native breast of his native language. One must completely trust the educational capabilities of a literary text.
The perception of a work of art is a complex mental process. It presupposes the ability to recognize and understand what is depicted; but this is only a cognitive act. A necessary condition for artistic perception is the emotional coloring of what is perceived, the expression of the attitude towards it (B.M. Teplov, P.M. Yakobson, A.V. Zaporozhets, etc.).
A.V. Zaporozhets noted: “... perception does not come down to a passive statement of certain aspects of reality, even very important and significant ones. It requires that the perceiver somehow enter into the depicted circumstances and mentally take part in the actions.”
The value judgments of preschool children are still primitive, but they indicate the emergence of the ability not only to feel the beautiful, but also to appreciate it. When perceiving works of art, it is important not only the general attitude towards the entire work, but also the nature of the attitude, the child’s assessment of individual characters.
A child’s acquaintance with fiction begins with oral folk art - nursery rhymes, songs, then he begins to listen to fairy tales. Deep humanity, extremely precise moral orientation, lively humor, figurative language are the features of these folklore miniature works. Finally, the child is read original fairy tales, stories accessible to him.
The people are unsurpassed teachers of children's speech. In no other works, except folk ones, is there such a pedagogically ideal arrangement of difficult-to-pronounce sounds, such a thoughtful combination of a series of words that barely differ from each other in sound (“if there was a blunt-lipped bull, a blunt-lipped bull, the bull would have a stupid lip”). The subtle humor of nursery rhymes, teasers, and counting rhymes is an effective means of pedagogical influence, a good “cure” for stubbornness, whims, and selfishness.
A journey into the world of a fairy tale develops the imagination of children, and encourages them to write. Children brought up on the best literary examples in the spirit of humanity show themselves to be fair in their stories and fairy tales, protecting the offended and weak, and punishing the evil.
For children of early and junior preschool age, the teacher mainly reads by heart (rhymes, poems, stories, fairy tales). Only prose works (fairy tales, short stories, stories) are told. Therefore, an important part of professional training is memorizing works of fiction intended for reading to children, developing expressive reading skills - a way to convey the full range of emotions, developing and improving the child’s feelings.
It is important to form in children a correct assessment of the characters in a work of art. Conversations can provide effective assistance in this, especially using problematic questions. They lead the child to understand the “second”, true face of the characters, previously hidden from them, the motives of their behavior, and to independently re-evaluate them (in the case of an initial inadequate assessment).
E.A. Fleurina noted the naivety of children's perceptions - children do not like a bad ending, the hero must be lucky, kids do not want even a stupid mouse to be eaten by a cat. Artistic perception develops and improves throughout preschool age.
A preschooler's perception of works of art will be deeper if he learns to see the elementary means of expression used by the author to characterize the depicted reality (color, color combinations, shape, composition, etc.).
The goal of literary education for preschoolers, according to S.Ya. Marshak in the formation of the future of a great and talented writer, a cultured, educated person. The tasks and content of the introduction are determined on the basis of knowledge of the characteristics of perception and understanding of works of literature and are presented in the kindergarten program.
The results obtained in the practical part of the work will help educators and parents adjust the direction of pedagogical influence on children in an experimental preschool institution.
Bibliography
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Annex 1
Table 1. Results of the ascertaining experiment to identify the level of development of cultural behavior skills in children of senior preschool age
|
F.I. child |
Cultural and hygienic skills |
Communication culture |
Activity culture |
Relationship culture |
Average score |
||||
|
with adults |
with adults |
||||||||
|
Matvey A. |
|||||||||
|
Matvey Sh. |
|||||||||
|
Marcel K. |
|||||||||
Psychological and pedagogical problems of using innovative technologies in working with preschool children. Peculiarities of color perception by children of senior preschool age. Development of creative abilities and color perception of preschoolers. course work, added 03/04/2011 Fairy tale as a genre of fiction, its classification. Age-related characteristics of the perception of a fairy tale and its developmental significance. An empirical study of the level of perception of a fairy tale and its influence on the development of imagination in preschool children. thesis, added 10/31/2014 Problem moral education preschoolers. Peculiarities of children's perception of works of fiction. The educational role of fairy tales. Formation of friendly relationships in children of primary preschool age through this genre. course work, added 02/20/2014 Age-related characteristics of time perception in preschool children. The concept of children's literature and its genres. The concept of time and its properties. Possibilities of using children's literature in the formation of temporary ideas in preschool children. thesis, added 10/05/2012 Psychological and pedagogical characteristics of the development of preschool children. Stages of development of perception of a work of art. Features of children's perception of the content of the book. Principles of illustrating books depending on the age of readers. course work, added 06/03/2014 Pedagogical work on speech development with children suffering from dysarthria. Psychological and pedagogical rationale for this problem. The connection between phonemic perception and pronunciation, the creation of optimal conditions for their development in preschool children. test, added 11/16/2009 Analysis of psychological and pedagogical literature on the topic of perception. Artistic perception that moves towards the idea laid down by the author of the work. The process of development of artistic perception of preschool children and the creativity of Irkutsk artists. thesis, added 02/15/2011 Familiarization with the age-related characteristics of the perception of children of senior preschool age. Research and characterization of the dynamics of development of color perception in children of senior preschool age. Development of tasks for the development of color perception. thesis, added 12/18/2017 Possibilities of using fiction in the process mathematical development preschoolers. Peculiarities of perception by preschool children literary texts. Pedagogical recommendations for the process of developing quantitative concepts. course work, added 02/13/2011 Psychological characteristics development of interpersonal perception in older preschool age. The influence of pedagogical communication style on the perception of the teacher’s personality by older preschoolers. Diagnostics of the characteristics of the perception of the teacher’s personality. |
Margarita Mozolina
Consultation for teachers “Children’s perception of fiction”
Tasks:
1. Introduce teachers so, which, in accordance with the Federal State Educational Standard for Additional Education in the educational field « Artistically- aesthetic development" the direction “;
2. Determine what is the difference between this direction in the educational field « Artistically- aesthetic development" from "Speech development";
3. Consider the basic principles of formation in children, conditions for;
4. To introduce the structure of educational activities, methods of introducing children to fiction.
Performance:
On October 17, 2013, the Federal State Educational Standard came into force. In accordance with which the basic educational program assumes a comprehensive approach, ensuring the development of children in five complementary educational areas:
Social and communicative development
Cognitive development
Speech development
Physical development
artistically-aesthetic development
This methodological association is dedicated to the problems artistically– aesthetic development of preschool children.
Today we will touch on one of the areas artistically- aesthetic development – “ Children's perception of works of fiction».
I draw your attention to the fact that introducing preschoolers to the nursery literature is also visible in the educational field "Speech development". Our task with you Today: understand what their differences are.
Extract from the Federal State Educational Standard
Speech development includes mastery of speech as a means of communication and
culture; enrichment of the active vocabulary; communication development,
grammatically correct dialogic and monologue speech;
development of speech creativity; development of sound and intonation
speech culture, phonemic hearing; acquaintance with book culture, children's literature, listening comprehension of texts of various genres for children literature; formation of sound analytical-synthetic activity as a prerequisite for learning to read and write.
Extract from the Federal State Educational Standard
Artistically- aesthetic development presupposes the development of the prerequisites for the value-semantic perception and understanding of works of art (verbal, musical, visual, the natural world; the formation of an aesthetic attitude to the surrounding world; the formation of elementary ideas about types of art; music perception, fiction, folklore; stimulating empathy for characters works of art; implementation of independent creative activities of children (visual, constructive-model, musical, etc.).
Children's literature is artistic, scientific artistic and popular science works written specifically for children - from preschool to high school age.
Based on the definition, it is clear that fiction- this is one of the types of children's literature.
So, pay attention to the cards offered to you, on which tasks are highlighted. Define, which of them in your opinion belong to the section « Perception of fiction»
Introduce book culture
Stimulate empathy for characters works of art
To develop the ability to understand by ear texts of different genres for children literature
Bring up literary and artistic taste, the ability to understand the mood of a work, to feel the musicality, sonority and rhythm of poetic texts; beauty, imagery and expressiveness of the language of fairy tales and stories.
Cultivate interest in literary texts, desire to listen to them
Learn to retell on your own literary work, reproduce text based on illustrations
To support children’s desire to reflect their impressions of the works they listened to, literary heroes and events in different forms artistic activity : in drawings, making figurines and decorative elements for theatrical games, in dramatization games.
Keywords in tasks – artistic taste, feelings, expressiveness, beauty, etc.
It is no coincidence that this direction relates to artistically– aesthetic development. Fiction- a powerful and effective means of mental, moral and aesthetic raising children, which has a huge impact on their development. It enriches emotions fosters imagination, gives the child excellent examples of Russian literary language.
From the book, the child learns many new words and figurative expressions, his speech is enriched with emotional and poetic vocabulary. Literature helps children express their attitude to what they have heard, using comparisons, metaphors, epithets and other means of figurative expression.
Educational function of fiction carried out in a special way, inherent only to art - by the force of influence artistic image.
Fiction creates an emotional environment in which the organic unity of aesthetic and moral experiences enriches and spiritually develops the child’s personality. Gradually, children develop a selective attitude towards literary works, is formed artistic taste.
Basic principles of formation in children perception of fiction
Construction of educational activities based on individual characteristics each child, in which the child himself becomes active in choosing the content of his education. In the selection artistic texts take into account preferences and features teachers and children.
Supporting preschoolers' initiatives
Age adequacy of preschool education: compliance of conditions, requirements, methods with the age and developmental characteristics of children.
Cooperation between the organization and the family. Creation about fiction child-parent projects including various types of activities, during which holistic products are created in the form of homemade books, exhibitions fine arts, layouts, posters, maps and diagrams, scripts for quizzes, leisure activities, children's and parent's parties, etc.
Creating conditions for children's perception of fiction
In accordance with the Federal State Educational Standards for subsidiaries, a number of conditions:
Ensuring the full development of the personality of children in all educational areas against the backdrop of their emotional well-being;
Providing psychological – pedagogical conditions(age appropriate, formation and support of positive self-esteem, confidence in own capabilities and abilities)
Creation of a developing subject-spatial environment.
Children's perception of fiction– an activity-based approach that involves joint and independent activities of children. Cooperative activity is divided into educational and regime aspects. I would like to dwell in more detail on educational activities and note the fact of restructuring the style of behavior teacher. Teacher is a partner - always an equal participant and is associated with children mutual respect
Structure of educational activities:
1. The beginning is open, free (a ball was brought into the hall, they followed the arrows, teacher retired to the computer, attracting the attention of children)
2. Creating a problem, motivation
Younger age:
A story about something happening to some characters (grandfather and woman are crying, the bun has rolled away or an egg has broken, etc.)
Asking children if they agree to provide the required assistance
Older age:
The need to create game motivation remains - the main thing is not the characters, but the plots (handed over the letter - the character himself is not there, but there is a letter)
Preparatory group:
Problem situation - it is necessary to solve a problem, but there is not enough knowledge, the child must obtain it himself. (it is necessary to create a project for the site)
3. Finding a way out of this problem and solving it;
4. Reflection;
5. Future perspective.
Familiarization methods fiction:
verbal, visual and practical
Question for the listeners: What do you think belongs to verbal methods? (answers)
Verbal method:
Reading works,
Questions about the content of works,
Retelling of works,
Learning by heart,
Conversation on the work,
Listening to audio recordings
Question for the listeners: What do you think applies to practical methods (answers)
Practical method:
Elements of staging,
Dramatization games
Didactic games,
Theatrical games
Using different types of theater,
Game activity.
Question for the listeners: What do you think belongs to visual methods? (answers)
Visual method:
Display of illustrations, paintings, toys,
Elements of staging,
Watching videos,
Exhibition design.
One of the methods of getting acquainted with fiction preschoolers play activities, at the end of my speech I propose to play.
Business game
Literature:
1. Akulova O. V. "Reading fiction» : Publishing House LLC "Childhood - Press", 2012
2. Ushakova O. S., Gavrin N. V. Introducing preschoolers to literature.
3. L. M. Gurovich, L. B. Beregovaya and others. Child and book.
4. Federal state standard of preschool education.
6. Preschool magazine pedagogy No. 9,2013, p. 22
7. Internet resources: dou10.bel31.ru and others.
In accordance with the Federal State Educational Standard, preschool education assumes familiarity with book culture, children's literature, and listening comprehension of texts of various genres of children's literature. The most important condition for the implementation of this task is knowledge of the age-related characteristics of the perception of preschoolers, in this case, the perception of works of fiction.
At 3-4 years old (junior group) children understand main facts of the work, capture the dynamics of events. However, understanding of the plot is often fragmentary. It is important that their understanding is connected with direct personal experience. If the narrative does not evoke any visual ideas in them and is not familiar from personal experience, then, for example, Kolobok may be more incomprehensible to them than the golden egg from the fairy tale “Ryaba Hen”.
Kids are better comprehend the beginning and end of the work. They will be able to imagine the hero himself and his appearance if an adult offers them an illustration. In the hero's behavior they they only see actions, but do not notice his hidden motives for actions and experiences. For example, they may not understand Masha's true motives (from the fairy tale "Masha and the Bear") when the girl hid in the box. Children's emotional attitude towards the characters of the work is clearly expressed.
Features of the perception of a literary work by children of primary preschool age determine tasks:
1. Enrich the life experience of children with the knowledge and impressions necessary to understand a literary work.
2. Help correlate existing childhood experiences with the facts of a literary work.
3. Help establish the simplest connections in the work.
4. Help to see the most striking actions of the heroes and evaluate them correctly.
At 4-5 years old ( middle group)
children’s experience of knowledge and relationships is enriched, the range of specific ideas is expanding. Preschoolers easy establish simple cause-and-effect relationships in the plot. They can isolate the main thing in a sequence of actions. However, the hidden intentions of the heroes are not yet clear to children.
Focusing on their experience and knowledge of norms of behavior, most often they give the correct assessment of the hero’s actions, but highlight only simple and understandable actions. The characters' ulterior motives are still overlooked.
The emotional attitude to a work at this age is more contextual than that of 3-year-olds.
Tasks:
1. To develop the ability to establish various cause-and-effect relationships in a work.
2. Draw children’s attention to the hero’s various actions.
3. To develop the ability to see simple, open motives for the actions of heroes.
4. Encourage children to determine their emotional attitude towards the hero and motivate him.
At 5-6 years old ( senior group)
Children are more attentive to the content of the work and its meaning. Emotional perception is less pronounced.
Children are able to understand events that were not in their direct experience. They are able to establish diverse connections and relationships among the characters in the work. The most popular are the “long” works – “The Golden Key” by A. Tolstoy, “Cippolino” by D. Rodari, etc.
Awareness appears interest in the author's word, auditory perception develops. Children take into account not only the actions and actions of the hero, but also his experiences and thoughts. At the same time, older preschoolers empathize with the hero. The emotional attitude is based on the characteristics of the hero in the work and is more adequate to the author's intention.
Tasks:
1. To encourage children to establish diverse cause-and-effect relationships in the plot of the work.
2. To develop the ability to analyze not only the actions of the characters, but also their experiences.
3. Form a conscious emotional attitude towards the characters of the work.
4. Draw children’s attention to the linguistic style of the work and the author’s techniques for presenting the text.
At 6-7 years old ( preparatory group) preschoolers begin to comprehend works not only at the level of establishing cause-and-effect relationships, but also understand emotional overtones. Children see not only the various actions of the hero, but also highlight pronounced external feelings. The emotional relationship with the characters becomes more complicated. It depends not on a single bright act, but from taking into account all the actions throughout the plot. Children can not only empathize with the hero, but also consider events from the point of view of the author of the work.
Tasks:
1. Enrich the literary experience of preschoolers.
2. To develop the ability to see the author’s position in a work.
3. Help children comprehend not only the actions of the heroes, but also penetrate into them inner world, see the hidden motives of actions.
4. To promote the ability to see the semantic and emotional role of a word in a work.
Knowing the age-related characteristics of children’s perception of a literary work will allow the teacher develop the content of literary education and on its basis to implement the tasks of the educational field "Speech development".
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