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MINISTRY OF EDUCATION, SCIENCE AND RF
FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER EDUCATION
"BASHKIR STATE UNIVERSITY" (BASHSU)
INSTITUTE OF LIFELONG EDUCATION
FINAL CERTIFICATIONJOB
On the topic of:“Formation of verbal creativity in older children preschool age»
Completed:
Retraining course attendee
"Pedagogy and psychology
Platonova Anna Yurievna
G. Ufa2016
Introduction
ChapterI. Theoretical foundations of the formation of verbal creativityamong older preschoolers in psychological and pedagogical literature
1.1 The concept of creativity, children's verbal creativity and the study of problems of its formation by psychologists and teachers
1.2 The concept of coherent speech, its main forms and characteristics of coherent statements
1.3 The fairy tale genre - as a factor in the development of children’s verbal creativity
Conclusions on Chapter I
ChapterII. Formation of verbal creativity in children of senior preschool age in the process of composing fairy tales
2.1 Studying the level of development of verbal creativity in children 5-6 years old
2.2 Formation of verbal creativity in the process of children composing fairy tales
Conclusions on Chapter II
Conclusion
Bibliography
INTRODUCTION
The relevance of research
Preschool age is a unique period when the foundations for all future human development are laid. That is why the main goal of education is the comprehensive harmonious development of the individual.
Personal development is closely related to the formation of creativity, knowledge of the surrounding world and mastery of the native language.
The child learns to think creatively, improves his thinking by learning to create.
Currently, society is constantly in need of people who are able to think outside the box, act actively, and find original solutions to any life problems. All of the above qualities are characteristic of creative individuals.
Creativity itself is complex look activities and there are different trends in the nature of occurrence children's creativity.
In some cases, creativity is considered as a result of the child’s incipient internal forces. The development of creativity comes down to a spontaneous moment. With this view, there is no need to teach children to draw and sculpt; they themselves strive for self-expression and freedom, creating compositions from strokes and spots. Supporters of this trend do not interfere in the process of developing a child’s artistic abilities.
In other cases, the source of children's creativity is sought in life itself, in appropriate pedagogical conditions, which are a guarantee of an active influence on the development of children's creativity. Supporters of this view believe that abilities are formed gradually, in the process of active activity of children, taking into account the individual characteristics of the child. coherent speech verbal fairy tale creativity preschooler
Verbal creativity is part of the general development of creative abilities of preschoolers in various types of artistic activities:
Its formation is based on the perception of works of fiction, oral folk art in the unity of content and artistic form;
Familiarization with different genres of literary works, their specific features, the understanding of which is enhanced in the visual and theatrical activities. Which contributes to the development of creative imagination.
In preschool age, creativity is manifested in various types of artistic activities (visual, musical, motor, play and speech).
A lot of scientifically based works and methods of honored teachers and psychologists are devoted to this: N.A. Vetlugina, L.S. Vygotsky, A.V. Zaporozhets, N.S. Karpinskaya, N.P. Sakulina, S.L. Rubinshtein and others. The work of practical teachers O.S. was devoted to the problem of the development of artistic expression. Ushakova, F.A. Sokhina, O.M. Dyachenko and others.
Many researchers (N.S. Karpinskaya, L.A. Penevskaya, R.I. Zhukovskaya, O.S. Ushakova, L.Ya. Pankratova, A.E. Shibitskaya) directed their efforts to study the nature of children’s creative manifestations in literary activities, as well as searching for ways to develop the child’s creative abilities. These studies showed that the development of artistic creativity is closely related to the development of cognitive and personal characteristics preschooler. A folk tale plays a huge role in the development of creativity, which enriches the world of a child’s emotional experiences, helps him feel the artistic image and convey it in his writings.
A fairy tale for a child is not just a fiction, a fantasy, it is a special reality. Creating fairy tales is one of the most interesting types of verbal creativity for children.
The development of verbal creativity is a multi-complex, multifaceted process and depends, first of all, on the general speech development of children; The higher his level, the more freely the child manifests himself in composing fairy tales and stories.
Object of study: the process of developing creativity in children 5-6 years old.
Subject of study: verbal creativity of children 5-6 years old based on fairy tales.
Purpose of the study: studying the development of verbal creativity in children 5-6 years old, developing a sustainable interest in creativity in children.
Research objectives
1. Selection and study of psychological and pedagogical literature on the problem of developing verbal creativity in preschool children.
2. Study of the features of the content and artistic form of Russian folk tales and their perception by children.
Methodological basis research is the theory of the development of imagination and children's verbal creativity, formulated in the works of L.S. Vygotsky, N.A. Vetlugina, O.M. Dyachenko, N.P. Sakulina, as well as the works of psychologists and teachers on the problem of the development of coherent speech - O.S. Ushakova, S.L. Rubinshteina, F.A. Sokhina, A.V. Zaporozhets.
Research methods:
§ analysis of literature in the field of psychology and pedagogy,
§ pedagogical experiment,
§ conversations, observation of children,
§ analysis of children's creativity products.
Theoretical and practical significance of the work
The conducted research can be used when working on the development of coherent speech in children, as well as in the process of forming literate oral speech children and fostering interest in independent verbal creativity.
Organization of the study
The final certification work consists of an introduction, two chapters, a conclusion, and a list of references.
CHAPTERI. THEORETICAL FOUNDATIONS OF FORMATION OF VERBAL CREATIVITY IN SENIOR PRESCHOOL CHILDREN IN PSYCHOLOGICAL AND PEDAGOGICAL LITERATURE
1.1 The concept of creativity, children's verbal creativity and the study of problems of its formation by psychologists and teachers
An adult, raising a child, must subtly and tactfully support the child's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the learning of creativity, since creativity itself can only develop in certain individuals.
Questions of creativity, its development and manifestation in humans have worried the minds of outstanding people for many years in the formation of human history.
Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore it is so important, according to Aristotle, to teach children creativity, the ability to observe and understand people and their experiences from an early age. Proving that the imprint of the creator’s personality lies on his works, Aristotle not only gave examples of how different artists interpret the same subjects differently, but also proved the need to develop independence, activity and individuality when raising children, because otherwise, they will never become outstanding scientists and creators.
The nature of creativity is studied by philosophers, psychologists and teachers who study certain aspects of creative thinking and personality, based on the specifics of their sciences.
Thus, in the philosophical dictionary the following definition of creativity is given: “Creativity is a process of human activity that creates qualitatively new material and spiritual values.” In philosophy, creativity is a person’s ability, arising through work, to create from the material provided by reality (based on the knowledge of the laws of the objective world) a new reality that satisfies diverse social needs. In the process of creativity, all the spiritual powers of a person take part, including imagination, as well as the mastery acquired in training and practice, necessary for the implementation of a creative plan.
In pedagogical science, creativity is defined as “an activity aimed at creating a socially significant product that has an impact on the transformation of the environment.”
The significance of a child’s creativity is limited to creating something new for himself, and this determines the significance of creativity for the formation of personality.
Characterizing the creativity of children, the famous didact I.Ya. Lerner identified the following features of creative activity:
1- independent transfer of previously acquired knowledge to a new situation;
2 - vision of a new function of an object (object);
3 - vision of the problem in a standard situation;
4 - vision of the structure of the object;
5 - ability to make alternative solutions;
6 - combining previously known methods of activity into a new one.
I. Ya. Lerner argues that creativity can be taught, but this teaching is special, it is not similar to how knowledge and skills are taught. At the same time, creativity is impossible without acquiring certain knowledge and mastering skills and abilities.
By creativity, according to teachers, we should understand the very process of creating images of a fairy tale, story, game, etc., as well as methods and ways of solving problems (visual, gaming, verbal, musical).
The psychology of creativity studies the process, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:
1 - as a mental process of creating something new,
2 - as a set of personality properties that ensure its inclusion in this process.
A necessary element of creativity and human creative activity is imagination. It is expressed in the mood of the image of the products of labor and ensures the creation of a behavior program in cases where the problem situation is characterized by uncertainty.
Imagination, or fantasy, is one of the highest cognitive processes in which the specific human nature of activity is clearly revealed. Imagination allows you to imagine the result of a person’s work even before it begins.
Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections.
When characterizing imagination from the perspective of its mechanisms, it is necessary to emphasize that its essence is the process of transforming ideas, creating new images based on existing ones.
The synthesis of ideas in the processes of imagination is carried out in various forms:
§ agglutination - “gluing” various parts, qualities;
§ hyperbolization - increasing or decreasing an object and changing the number of parts of an object or their displacement;
§ sharpening, emphasizing any features;
§ schematization - the ideas from which the fantasy image is constructed merge, differences are smoothed out, and similarities come to the fore;
§ typification - highlighting the essential, repeated in homogeneous facts and embodying them in a specific image.
In psychology, it is customary to distinguish between active and passive imagination. In the case when fantasy creates images that are not realized, outlines behavior programs that are not implemented and often cannot be implemented, passive imagination manifests itself. It can be intentional or unintentional. Images of fantasy, deliberately evoked, but not associated with the will aimed at bringing them to life, are called dreams. Unintentional imagination manifests itself when the activity of consciousness, the second signaling system, is weakened, during temporary inactivity of a person, in a semi-asleep state, in a state of passion, in sleep (dreams), in pathological disorders of consciousness (hallucinations), etc.
Active imagination can be creative and re-creative. Imagination, which is based on the creation of images that correspond to the description, is called recreating. Creative imagination involves the independent creation of new images, which are realized in original and valuable products of activity. The creative imagination that arises in work remains an integral part of technical, artistic and any other creativity, taking the form of an active and purposeful operation of visual ideas in search of ways to satisfy needs.
In order to understand the psychological mechanism of imagination and related creative activity, it is necessary to clarify the connection that exists between fantasy and reality in human behavior. L.S. Vygotsky in his work “Imagination and Creativity in Childhood” identifies 4 forms of connection between imagination and reality.
The first form is that every creation of the imagination is always built from elements taken from reality and contained in man's previous experience. Imagination can create more and more degrees of combination, first combining the primary elements of reality, then secondarily combining fantasy images (mermaid, goblin, etc.). Here we can highlight the following pattern: “the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience is the material from which fantasy structures are created.”
The second form is a more complex connection between the finished product of fantasy and some complex phenomenon of reality. This form of connection is only made possible through someone else's or social experience.
The third form is emotional connection. Fantasy images provide an internal language for a person’s feelings “This feeling selects elements of reality and combines them into a connection that is determined from within by our mood, and not from the outside, by the logic of these images themselves.” However, not only feelings influence imagination, but imagination also influences feeling. This influence can be called the “law of emotional reality of the imagination.”
The fourth form is that the construction of a fantasy can be something essentially new, which has not been in human experience and does not correspond to any really existing object. Having taken on material embodiment, this “crystallized” imagination becomes reality.
L.S. Vygotsky also describes in detail the psychological mechanism of creative imagination. This mechanism includes selecting individual elements of an object, changing them, combining changed elements into new ones holistic images, systematization of these images and their “crystallization” in objective embodiment.
O.M. Dyachenko identifies two types or two main directions in the development of imagination. Conventionally, they can be called “affective” and “cognitive” imagination. An analysis of the affective imagination can be found in the works of S. Freud and his followers, where it is indicated that imagination and creativity are an expression of unconscious conflicts that are directly related to the development of innate tendencies.
Cognitive imagination was studied by J. Piaget. In his research, imagination was associated with the development of the symbolic function in a child and was considered as a special form of representative thinking that allows one to anticipate changes in reality.
O.M. Dyachenko characterizes these types of imagination and the stages of their development throughout preschool childhood.
Stage I - 2.5-3 years. There is a division of imagination into cognitive (the child, with the help of dolls, acts out some actions familiar to him and their possible options) and affective (the child plays out his experience).
Stage II - 4-5 years. The child learns social norms, rules and patterns of activity. Imagination involves a planning process that can be called stepwise. This, in turn, leads to the possibility of directed verbal creativity, when a child composes a fairy tale, stringing together events one after another. Cognitive imagination is associated with rapid development role-playing game, drawing, designing. But without special guidance, it is mainly of a reproducing nature.
Stage III - 6-7 years. The child operates freely with basic patterns of behavior and activity.
Active imagination is also aimed at overcoming the received psycho-traumatic effects by repeatedly varying them in games, drawing and other creative activities. Cognitive imagination manifests itself in the child’s desire to look for techniques for conveying processed impressions.
It should also be emphasized that imagination, which is extremely important for the implementation and organization of activities, is itself formed in various types of activities and fades when the child stops acting. Throughout preschool childhood, there is a constant transformation of the child’s imagination from an activity that needs external support (primarily toys) into an independent one. internal activities, allowing for verbal (writing fairy tales, poems, stories) and artistic (drawings, crafts) creativity. A child’s imagination develops in connection with the acquisition of speech, and, consequently, in the process of communication with adults. Speech allows children to imagine objects they have never seen before.
Fantasy is an important condition for the normal development of a child’s personality; it is necessary for the free identification of his creative potential. K.I. Chukovsky in his book “From Two to Five” spoke about children’s imagination in its verbal manifestation. He very accurately noted the age (from two to five) when a child’s creativity is especially sparkling. Lack of confidence in the laws existing in the field of language “directs” the child to cognition, mastery, and modeling of existing connections and relationships in the surrounding world of sounds, colors, things and people.
K.I. Chukovsky defended the right of children to a fairy tale and proved the child’s ability to realistically understand the imagery of a fairy tale.
Fantasy is a necessary element of creative activity in art and literature. The most important feature of the imagination involved in the creative activity of an artist or writer is its significant emotionality. An image, a situation, an unexpected plot twist that arises in the writer’s head turns out to be passed through a kind of “enriching device” that serves emotional sphere creative personality.
In any activity, two stages are absolutely necessary: setting a task (goal) and solving the problem - realizing the goal. In artistic creative activity, the idea by its very essence is the formulation of a creative task. Literary ideas, despite all their differences, are formulated in other types of activity. It's about the task of writing piece of art. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through one's work.
It should be noted that children are completely sincerely involved in literary works and live in this imaginary world. A child’s verbal creativity opens up richer opportunities for understanding the world and conveying his impressions, limiting the child’s actions to any technical techniques.
Issues of the formation of children's verbal creativity were studied by E.I. Tikheyeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole: it requires the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.
Verbal creativity is the most complex type of creative activity of a child. There is an element of creativity in any children's story. Therefore, the term “creative stories” is a conventional name for stories that children come up with themselves. The features of creative storytelling are that the child must independently come up with content (plot, imaginary characters), based on the topic and his past experience, and put it into the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. No less difficult task- convey your idea accurately, expressively and entertainingly. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from existing knowledge, introduce an element of fantasy into them and compose a creative story.
The basis of verbal creativity, notes O.S. Ushakov, the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) lies in the unity of content and artistic form. She considers verbal creativity as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems. The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.
Children's verbal creativity is expressed in various forms: in writing stories, fairy tales, descriptions; in writing poems, riddles, fables; in word creation (creation of new words - new formations).
For the methodology of teaching creative storytelling, understanding the peculiarities of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process is of particular importance. ON THE. Vetlugina noted the legitimacy of extending the concept of “creativity” to the activities of a child, delimiting it with the word “children’s.” She identified three stages in the formation of children's artistic creativity.
At the first stage, experience is accumulated. The role of the teacher is to organize life observations that influence children's creativity. The child must be taught to visualize the surroundings (perception acquires an aesthetic coloring). Art plays a special role in enriching perception. Works of art help a child to feel more keenly the beauty in life and contribute to the emergence artistic images in his work.
The second stage is the actual process of children's creativity, when the idea arises and the search for artistic means begins. The process of children's creativity is not very developed in time. The emergence of a child’s idea is successful if a mindset for a new activity is created (let’s come up with a story). The presence of a plan encourages children to search for means of its implementation: searching for composition, highlighting the actions of heroes, choosing words and epithets. Great importance Here they have creative tasks.
At the third stage, new products appear. The child is interested in its quality and strives to complete it, experiencing aesthetic pleasure. Therefore, an analysis of the results of creativity by adults and their interest are necessary. Analysis is also necessary for the formation of artistic taste.
Knowledge of the peculiarities of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.
1. One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with life impressions. This work may have different character depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books.
Reading books, especially educational ones, enriches children with new knowledge and ideas about the work of people, the behavior and actions of children and adults, aggravates moral feelings, and provides excellent examples of literary language. Works oral creativity contain a lot artistic techniques(allegory, dialogue, repetitions, personifications), attract with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of vocabulary. Children need to replenish and activate their vocabulary through definition words; words that help describe experiences, character traits of characters. Therefore, the process of enriching children’s experience is closely related to the formation of new concepts, new vocabulary and the ability to use the existing vocabulary.
3. Creative storytelling is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, master the structure of a coherent statement, and know the composition of the narrative and description.
Children learn these skills at previous age stages by reproducing literary texts, writing descriptions of toys and paintings, and inventing stories based on them. Particularly close to verbal creativity are stories about one toy, inventing the end and beginning of the episode depicted in the picture.
4. Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist).
Topics creative stories should be connected with the general tasks of instilling in children a correct attitude towards life around them, instilling respect for elders, love for younger ones, friendship and camaraderie. The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or fairy tale.
In the methodology of speech development, there is no strict classification of creative stories, but the following types can be roughly distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with a literary image (two options: replacing heroes while preserving the plot; changing the plot while preserving the heroes). Most often, children create contaminated texts because it is difficult for them to give a description without including an action, and the description is combined with the plot action.
Techniques for teaching creative storytelling depend on the children’s skills, learning objectives, and type of story.
In the older group, as a preparatory stage, you can use the simplest technique of telling children together with the teacher about questions. A topic is proposed, questions are asked, to which the children come up with an answer as they pose them. At the end, a story is compiled from the best answers. Essentially, the teacher “composes” together with the children.
IN preparatory school group, the tasks of teaching creative storytelling become more complicated (the ability to clearly build a storyline, use communication tools, realize structural organization text). All types of creative stories and different teaching methods with gradual complication are used.
The easiest thing is considered to be coming up with a continuation and completion of the story. The teacher gives a sample that contains the plot and determines the path for the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, and the setting in which the action takes place.
Ancillary questions, according to L.A. Penevskaya, are one of the methods of actively guiding creative storytelling, making it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.
A plan in the form of questions helps to focus children's attention on the consistency and completeness of the development of the plot. For a plan, it is advisable to use 3-4 questions; a larger number of them leads to excessive detail of actions and descriptions. What can hinder the independence of a child’s plan? During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story.
A more complex technique is storytelling based on the plot proposed by the teacher. (The teacher set a learning task for the children. He motivated it, suggested a theme, a plot, named the main characters. The children must come up with content, formalize it verbally in the form of a narrative, and arrange it in a certain sequence).
Coming up with a story on an independently developed topic is the most difficult task. The use of this technique is possible if children have basic knowledge about the structure of the narrative and means of intratextual communication, as well as the ability to title their story. The teacher advises what a story can be written about, invites the child to come up with a name for the future story and draw up a plan.
Learning the ability to invent fairy tales begins with introducing elements of fantasy into realistic plots.
At first, it is better to limit fairy tales to stories about animals: “What Happened to the Hedgehog in the Forest,” “The Adventures of the Wolf,” “The Wolf and the Hare.” It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But a certain level of knowledge about the habits of animals, their appearance. Therefore, learning the ability to invent fairy tales about animals is accompanied by looking at toys, paintings, and watching filmstrips.
Reading and telling short stories and fairy tales to children helps to draw attention to the form and structure of the work, to emphasize interesting fact, revealed in it. This has a positive effect on the quality of children's stories and fairy tales.
The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, the stock of well-known fairy tales is activated in the speech activity of preschoolers in order to assimilate their content, images and plots. At the second stage, under the guidance of the teacher, an analysis of the scheme for constructing a fairy tale narrative and plot development (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writings. The teacher turns to methods of joint creativity: chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, begins the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of fairy tale narration is activated: children are asked to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters.
In Gianni Rodari's book The Grammar of Fantasy. "Introduction to the Art of Storytelling" talks about some ways to create stories for children and how to help children create their own. The book’s author’s recommendations are also used in Russian kindergartens.
The most common technique is the game “What would happen if...”, where children are asked to find a solution to a certain situation.
“Old games” - note-taking games with questions and answers. It begins with a series of questions that outline in advance a certain pattern, the end of the story.
Sample questions:
§ Who was that?
§ Where is it?
§ What did you do?
§ What did you say?
§ What did the people say?
§ How did it all end?
Children's answers are read aloud as a continuous story.
“The technique of nonsense” is the writing of absurdities, fables, “twists” in two lines.
“Making a limerick” is a variant of organized and legalized nonsense. The structure of a limerick could be as follows:
1. Choosing a hero.
2. Its characteristics.
3, 4. Implementation of the predicate (performing an action).
5. The final epithet characterizing the hero.
The use of these techniques will successfully affect the development of verbal creativity in preschool children.
1.2 The concept of coherent speech, its main forms and characteristics of coherent statements
Speech is one of the central, most important mental functions. Psychologists and psycholinguists consider speech as a process of generating and perceiving a statement, as a type of specifically human activity that ensures communication.
Speech development in preschool childhood (mastery of the native language) is a process that is multifaceted in nature. So, this process is organically connected with mental development, since developed human thinking is speech, language - verbal-logical thinking. The relationship between speech development, language acquisition and mental, cognitive development indicates the enormous importance of language for the development of thinking.
At the same time, the relationship between the speech and intellectual development of a child must be considered in the opposite direction - from intelligence to language. This approach can be conditionally designated as an analysis of the linguistic function of the intellect, that is, clarification of the role of the intellect and mental activity in language acquisition.
E.I. Tikheyeva in her work “Development of Speech in Children” states that “sensations and perceptions are the first step in understanding the world; developing speech is based on a base of sensory representations. The external sense organs are instruments of cognition and, in the development of a child’s speech, they play a major role. Correct perception of objects is the main mental work of a child. The child’s sensory and speech development occurs in close unity, and work on speech development cannot be separated from work on increasing the senses and perception.”
Speech rebuilds all mental processes: perception, thinking, memory, feelings, desires, and so on. Mastering speech allows a child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Speech has such a magical effect due to the fact that it frees the child from situationality and from the pressure of the objective environment. Unlike any other signal or any vocalization, a word is a sign that always carries a universal meaning, including not just a specific object, but a thought, image, concept. By mastering language, a child masters a sign system, which becomes a powerful tool for thinking, self-control and, above all, communication.
The close connection between the speech and intellectual development of children is especially clear in the formation of coherent speech, that is, speech that is meaningful, logical, and consistent.
Coherent speech is understood as a detailed presentation of certain content, which is carried out logically, consistently and accurately, grammatically correct and figuratively.
In the methodology, the term “coherent speech” is used in several meanings:
1. Process, activity of the speaker;
2. Product, the result of this activity, text, statement;
3. Title of the section of work on speech development.
Additionally, the terms “statement” and “text” are used synonymously.
An utterance is a speech activity, and the result of this activity: a certain speech product, more than a sentence. Its core is meaning (T.A. Ladyzhenskaya, M.R. Lvov).
“Text” is used in the methodology as a synonym for the word “statement” in its second meaning (“the result of speech activity”), more often in relation to a written statement (text of an article, text of presentation, text analysis, etc.). We can note two interrelated, but non-identical aspects of the text - coherence and integrity.
Coherent speech is inseparable from the world of thoughts; coherence of speech is coherence of thoughts. Coherent speech reflects the logic of the child’s thinking, his ability to comprehend what he perceives and express it correctly. By the way a child constructs his statements, one can judge the level of his speech development.
Coherent speech is a single semantic structural whole, including interconnected and thematically united, complete segments.
In his article “On the tasks of speech development” F.A. Sokhin wrote: “To tell a coherent story about something, you need to clearly imagine the object of the story (subject, events), be able to analyze, select the main properties and qualities, establish different relationships (cause-and-effect, temporal) between objects and phenomena.” In addition, it is necessary to be able to select the most suitable words to express a given thought, construct simple and complex sentences, and use a variety of means to connect individual sentences and parts of a statement.
The main function of coherent speech is communicative. It is carried out in two main forms - dialogue and monologue. Each of these forms has its own characteristics, which determine the nature of the methodology for their formation.
Dialogical speech is a particularly striking manifestation of the communicative function of language. The main feature of the dialogue is the alternation of one interlocutor speaking with listening and subsequent speaking of another person. Oral dialogic speech occurs in a specific situation and is accompanied by gestures, facial expressions, and intonation. Speech may be incomplete, abbreviated, and sometimes fragmentary. The dialogue is characterized by: colloquial vocabulary and phraseology, frequency, reticence, abruptness; simple and complex incoherent sentences; brief premeditation. The coherence of the dialogue is ensured by two interlocutors. Dialogical speech is marked by involuntariness and reactivity.
Monologue speech is a coherent, logically consistent statement that lasts a relatively long time and is not designed for an immediate reaction from listeners. It has an incomparably more complex structure and expresses the thought of one person, which is unknown to the listeners. The statement contains a more complete formulation of information, it is more detailed. A monologue requires internal preparation, longer preliminary thinking about the statement, and concentration of thought on the main thing. A monologue is characterized by: literary vocabulary, detailed utterance, completeness, logical completeness, syntactic structure, and the coherence of the monologue is ensured by one speaker.
These two forms also differ in their motives. Monologue speech is stimulated by internal motives, and its content and linguistic means are chosen by the speaker himself. Dialogical speech is stimulated not only by internal, but also by external motives.
Monologue speech is a more complex, arbitrary, more organized type of speech, and therefore requires special speech education.
Coherent speech can be situational and contextual. Situational speech is associated with a specific visual situation and does not fully reflect the content of thought in speech forms. It is understandable only when taking into account the situation being described. The speaker widely uses gestures, facial expressions, and demonstrative pronouns.
In contextual speech, unlike situational speech, its content is clear from the context itself. The difficulty of contextual speech is that it requires constructing a statement without taking into account the specific situation, relying only on linguistic means.
In most cases, situational speech has the nature of a conversation, and contextual speech has the nature of a monologue.
Coherent speech performs the most important social functions: it helps the child establish connections with people around him, determines and regulates the norms of behavior in society, which are decisive conditions for the development of the child’s personality.
Features of the development of coherent speech were studied by L.S. Vygotsky, S.L. Rubinstein, A.M. Leushina, F.A. Sokhin and other scientists in the field of psychology.
In mastering speech, believes L.S. Vygotsky, the child goes from part to whole: from a word to a combination of two or three words, then to a simple phrase, and even later to complex sentences. The final stage is coherent speech, consisting of a number of expanded sentences.
The study by A.M. is widely known. Leushina, which reveals the patterns of development of children’s coherent speech from the moment of its emergence. She showed that the development of speech goes from mastering situational speech to mastering contextual speech, then the process of development of these forms of speech proceeds in parallel.
The formation of coherent speech and changes in its functions depend on the content of the conditions and forms of communication between the child and others.
The formation of coherent speech in young children and the factors of its development were studied by E.I. Tikheyeva, G.L. Rosengarp-Pupko, N.M. Aksarina.
The methodology for conducting a conversation with children is outlined in the works of E.I. Tikheyeva and E.A. Flerina, distinguishes between the classification of conversations, the target setting and the method of conduct.
The role of a generalizing conversation and the methodology for conducting it are reflected in the fundamental research of E.I. Radina, where the principles of selecting content for conversations, the structure of the conversation and techniques for activating the speech and thinking of children are revealed.
Issues of the formation of a monologue form of coherent speech were developed by V.V. Gerbova, O.S. Ushakova, V.I. Yashina, E.A. Smirnova, N.O. Smolnikova.
They give characteristics of coherent statements. Children's coherent utterances can be characterized by different points vision: by function, source of utterance, leading mental process on which the child relies.
Depending on the function, four types of monologues are distinguished: description, narration, reasoning and contamination. In preschool age, predominantly contaminated statements are observed, in which elements of all types can be used with a predominance of one of them.
Description is a static characteristic of an object. In the description, a general thesis is highlighted that names the object, then there is a description of essential and secondary features, quality, and actions. The description ends with a final phrase expressing an evaluative attitude towards the subject. When describing, lexical and syntactic means aimed at defining an object and its characteristics are important. Therefore, epithets, metaphors, comparisons are used. The description is characterized by the listed intonation.
IN kindergarten children describe pictures, toys, objects, interiors, natural phenomena, people.
A narrative is a coherent story about some events. Its basis is a plot unfolding over time. Narration serves to tell the story of developing actions. The material in it is presented on the basis of those semantic connections that are prompted by the life situation. The sequence of events is determined by their actual course. In narrative monologues, means are used to convey the development of action: tense verb forms; vocabulary denoting time, place, manner of action; words to connect sentences.
Preschool children compose stories on a visual basis and without relying on visuals.
Reasoning is a logical presentation of material in the form of evidence. The reasoning contains an explanation of a fact, argues a certain point of view, and reveals the cause-and-effect relationships of the relationship. In reasoning, two main parts are required: the first is what is explained or proven; the second is the explanation or proof itself. Its structure includes a thesis (usually the initial sentence), evidence of the thesis put forward, and a conclusion. Reasoning uses various ways of expressing cause-and-effect relationships, subordinate clauses with the conjunction “because”, verb phrases, nouns in genitive case with the prepositions “from, with, because of”, introductory words, the particle “after all” and a non-union connection, as well as the words: here, for example.
Preschool children master the simplest conversational style of reasoning.
In kindergarten, children are taught two main types of monologues - independent storytelling and retelling. They differ from each other in that in the first case the child selects the content for the statement and designs it independently, and in the second the material for the statement is a work of art.
Retelling is a meaningful reproduction of a literary image in oral speech. When retelling, the child conveys the author’s ready-made content and borrows ready-made speech forms.
A story is an independent, detailed presentation by a child of certain content. In the methodology, the term “story” is traditionally used to designate monologues of various types independently created by children (description, narration, reasoning, contamination).
Depending on the source of the statement, monologues can be distinguished:
1. For toys and objects,
2. According to the picture,
3. From experience,
4. Creative stories.
Storytelling from toys and paintings. Toys, objects and pictures are excellent materials for teaching different types of utterances, as they suggest the content of speech. When describing, children rely on perception visual material, identify the characteristic features of objects and phenomena. Often the description also includes a story about completed or possible actions with a toy or object, and about how these things appeared in the child. In narrative monologues, children convey a certain plot, suggested by a picture, a ready-made play situation created with the help of toys, and also come up with a story based on the picture, going beyond what is shown in the picture, or on toys (one or more). In telling stories from toys and pictures, children learn to select subject-logical content for descriptions and narratives, acquire the skills to build a composition, connect parts into a single text, and selectively use linguistic means.
Storytelling from experience is based on ideas obtained through observations, as well as various types of activities, and reflects the child’s experiences and feelings. In monologues, the skills of narration, description, and reasoning are formed from collective and individual experience.
Creative stories are stories about fictional events. In the methodology, creative storytelling is understood as an activity that results in children inventing fairy tales, realistic stories with independently created images, situations, logically constructed, expressed in a certain verbal form. A realistic story reflects objects and phenomena existing in nature, although in personal experience they did not meet for a child. Fairy tales most often define themselves as a reflection of the artistic experience accumulated by children in the perception and retelling of folk and literary fairy tales. Children can also make up fables. Creative essays can be not only narrative, but also descriptive.
Depending on the leading mental process on which the “children’s” story is based, the story can be:
1. Narration based on visual, tactile or auditory perception is descriptive in nature and leads the child to reasoning. Children talk about those objects or phenomena that they perceive in this moment. The content of texts created by children is determined by the objects and phenomena themselves, and visually perceived signs and qualities facilitate the choice of appropriate linguistic means. TO this species storytelling includes descriptions of toys, paintings, natural objects, and natural phenomena. In storytelling through perception, it ensures the unity of sensory, mental and speech development.
2. Telling from memory is telling from experience, about what was experienced and perceived earlier. This is a more complex activity than perceptual storytelling. It relies on voluntary memory.
3. Imaginative storytelling is children's creative stories. From a psychological point of view, the basis of creative stories is creative imagination. In new combinations, children use ideas stored in memory and previously acquired knowledge.
Any coherent monologue utterance is characterized by a number of features:
1) Integrity (unity of theme, correspondence of all micro-themes to the main idea);
2) Structural design (beginning, middle, end);
3) Coherence (logical connections between sentences and parts of the monologue);
4) Volume of utterance;
5) Smoothness (no long pauses in the storytelling process).
To achieve coherence in speech, a number of skills are required, namely: the ability to understand and comprehend the topic, determine its boundaries; take away required material; arrange the material in the required sequence; use the means of language in accordance with literary norms and the objectives of the statement; construct speech deliberately and arbitrarily.
1.3 Fabulousgenre -as a factor in the development of children's verbal creativity
Verbal creativity is a two-pronged process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form.
One of the factors determining the development of children's verbal creativity should be recognized as the influence of folklore.
For centuries, Bashkir folklore has played and continues to play a major educational role in the life of the peoples of Bashkortostan. IN AND. Baymurzina notes that folk pedagogy is fully reflected in oral folk art.
K.Sh. Akhiyarova believes that the folk pedagogical culture of the Bashkir people consists of elements of folk art: fairy tales, legends, myths, tales.
The concept " children's folklore"entered science relatively recently. Children's folklore developed directly with folk pedagogy. With children's folklore, every nation prepares its children from the day they are born for working life.
Firstly, “children’s folklore” has an educational influence on the child’s personality, forms artistic abilities, mental properties necessary for such a complex process as verbal creativity, creates the prerequisites for its emergence; secondly, it has a direct impact on the child’s verbal activity, develops educated speech, determines structure and style, feeds it with its material, provides images, develops coherent speech, and equips it with a way to construct a narrative. When studying the properties of folklore, one should focus on the fairy tale, that form of the epic genre to which children's writing comes closest.
A fairy tale is a very popular genre of oral folk art, an epic, prose, plot genre. The old name of the fairy tale “fable” indicates the narrative nature of the genre. The subject of the story is unusual, surprising, and often mysterious and strange events, and the actions are of an adventurous nature.
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Features of the manifestation of verbal creativity
in older preschool age
The problem of developing the creativity of the younger generation is currently increasingly attracting the attention of philosophers, psychologists, and teachers. Society is constantly in need of creative personalities who are able to act actively, think outside the box, and find original solutions to any life problems.
Verbal creativity is a complex process associated with the general development of the child (O.S. Ushakova, F.A. Sokhin, N.N. Poddyakov, O.M. Dyachenko, N.V. Gavrish, O.N. Somkova, etc. ). There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without mastering the richness of the language in which a child speaks and thinks.
Verbal creativity is an integral part of the general development of creative abilities of preschool children in various types of activities:
its formation is based on the perception of works of fiction, oral folk art in the unity of content and artistic form;
familiarization with different genres of literary works and their specific features introduces the child to the world of artistic images, the understanding of which deepens in visual and theatrical activities, which contributes to the development of creative imagination, and also develops the ability to use a variety of linguistic means when creating their own compositions;
The development of verbal creativity in older preschoolers is a multifaceted and multifaceted process. It depends on the general speech development of children: the higher this level, the more freely the child manifests himself in composing works.
Literary creativity is a two-pronged process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form. Children’s verbal creativity can be expressed in different forms:
In word creation, i.e. in the creation of new words, neologisms;
In writing poems;
In writing your own stories and fairy tales;
In creative retellings.
Children must be prepared to express themselves through creativity. Children need to be taught to write poems, riddles, fairy tales, and stories. Children's texts help trace the process of children's verbal creativity and their individuality.
Most scientists note that not all children develop the ability to compose immediately and not every child strives to show off his “masterpiece.” The problem of verbal creativity of preschool children has not yet been sufficiently fully and deeply studied by preschool pedagogy.
Purpose of the study is to study the characteristics of the manifestation of verbal creativity in children of senior preschool age.
Object of study– verbal creativity and features of its manifestation. The subject of the study is the psychological and pedagogical conditions for the manifestation of verbal creativity in children of senior preschool age.
Research hypothesis there was an assumption that the manifestation of verbal creativity will depend on a number of psychological and pedagogical conditions:
From the inclinations, from the children’s inclination to activity;
From the personality of the teacher (environment of interests, intelligence);
From the activities of the teacher with children (games, activities, observations, etc.);
From the conditions of upbringing in the family (hobbies, communication, connection between generations);
From the child’s experience (theater, literature, TV, CD/DVD, etc.);
From a differentiated approach to the child’s personality.
The study was conducted on the basis of MDOU No. 157 in Murmansk. The experiment involved 15 children of the older group aged 5 to 6 years.
The purpose of the ascertaining experiment: to identify the features of the manifestation of verbal creativity in children of senior preschool age.
identify children’s ability to compose different works: a riddle, a fairy tale, a song, a poem;
identify the dependence of the characteristics of the manifestation of verbal creativity on the inclinations and inclinations of children;
determine the general level of verbal creativity of older preschoolers.
The ascertaining experiment consisted of two series of tasks: a conversation with children; observation of children for a month.
Let's give an example of observations.
Morning. Dasha R. took the theatrical “Teremok”, hid all the heroes of the fairy tale and decided to ask riddles to Nastya, who had just entered the group. “Red-haired, with a long ponytail, a beautiful girl, walks around, deceives everyone, sister. Hitral she" (fox). “She digs minks and loves cheese very much. Beautiful princess girl. She’s so cute, she says “pee-pee” (mouse).
“The gray one walks around, eats calves, he eats piglets, and for lunch he can eat a calf with baby cow" (wolf). "Clubfooted, loves honey, can lift huge house. He himself is handsome and rich” (bear). “The green princess is jumping through the swamp. She's a talker. Croaks (speaks quietly, lowering his head under the table). And she has beautiful little things on her fingers” (frog). “He jumps and waits for my riddles, a nice guy. He is afraid of the fox and quickly runs away through the ant grass” (hare).
Nastya didn’t solve all the riddles, maybe she didn’t wake up, maybe she had some difficulties. Dasha laughs and says: “Oh, Nastya, thoughtless your head!
Evening. In the game, the girls built toys in a round dance and Dasha says: “That’s how they danced, they were great and hard workers! I ask: “What does the word “laborers” mean? “This means we worked hard and together,” Dasha answered.
Classes in visual arts. Dasha drew an aquarium, beautiful fish. I started drawing algae and probably forgot what they are called. “And here I will have these enslavement».
During a salt dough modeling class, Dasha asked to look at my book. Seeing a salt shaker in it, he says: “Let’s make the same one at the next lesson.” salted salt!”.
Dasha has the best imagination in the group; she composes with pleasure and invents a lot in games. For example, he never gets bored on the street because he comes up with games with any objects (fallen leaves, sticks, boxes, grass, seeds, shells), imagining them different heroes. Mom, dad, grandparents always approve of Dasha’s games and “miracles” and treat creativity with respect, not considering it stupid. So, for example, one winter, on an evening walk, Dasha blinded a little Snow Maiden, and did not want to say goodbye to her. Mom allowed the Snow Maiden to live at home. We read a fairy tale to the children: “Ivanushka said this, cried and went home.” Sasha Sh. asks: “What is svoyasi? In yours, in yours, in yours.”
Independent activity. Anya M. draws and says: “And here I need a leathery color” (skin color). She also draws the mayor, the mayor's wife and the little girl. He explains: “And this is the mayor’s daughter” (the mayor’s daughter).
Analysis of the observation allows us to conclude that verbal creativity was demonstrated mainly by those children who have innate inclinations, a propensity for activity, and also whose parents take an active part in the development of the creative abilities of their children.
To implement the first objective of the study, children were asked 4 tasks: compose a riddle; come up with a fairy tale; come up with a song; write a poem. Let us give examples of children's verbal creativity. Mystery Dashi R. “It looks like an octopus and a jellyfish, lives in the sea, but is not a fish. It’s delicious, they eat it and sell it in the store” (squid).
Fairy tale Olya R. On the topic “Teapot, coffee pot and fish or a fairy tale about friendship”:
“Once upon a time there was a new kettle. He had no friends, so it was boring. But one day the owners bought a coffee maker. Only the coffee maker disliked the teapot, because she had an imagination, thought that she was better than everyone else and loved only herself. Then we bought different fish: two crucian carp, a red cap and a golden one. And for some reason they got an angry cat. He ate all the fish except the golden one, and he was punished. The teapot made friends with the fish. And the coffee maker broke. Serves her right! You need to take care of your friends! The end” (meant coffee maker, but pronounced cafearka). Poem Sashi Sh. “The girl went out for a walk, to pluck some fresh grass (laughs and explains: for salad). And behind her is Bug, with a mouse on her side.”
Histogram 1.
Children's writing levels
The main directions of work with children in the process of formation: classes aimed at developing verbal creativity. A system of specially selected games. Teaching poetry. Working with a picture, a book. Working with folklore. Interaction between the teacher and preschool specialists.
Games can be played with the whole group, with a subgroup of children, or individually. Required condition- playing games after observing, examining, comparing, etc. The child must accurately represent the subject in question. The inclusion of these activities in everyday life should arouse in them constant interest, a desire to fantasize, and, together with the teacher, to experience imaginary situations, adding new details each time. In the process of this work, children and parents began to compose poems, riddles, fairy tales, and nursery rhymes.
“The letter I has always been sweet to everyone. But, friends, we advise you to remember the place of the letter “Y” (Katya S.); Once upon a time there lived in the alphabet the letter I and I was very beautiful letter was. That letter stood at the end of the alphabet and therefore was very angry” (Ira P.); “I decided to stand first in the alphabet, and change the letter A with me. I want to be first! - she said, and, displacing A, she took a place there”; “Watermelon, orange, don’t call yourself Y, because the most important letter is mine!” I am a proud, brave, important me, all the main letters are my merit!” (Daniil S.).
A fairy tale about the green eye of a traffic light. “Once upon a time there lived one amazing traffic light. He had three eyes: red, yellow, green. The two eyes were obedient, lit up on time and in turn. And the green eye was always naughty. He liked to wink at pedestrians. Because of this, there were troubles on the road. One day the peephole played a prank on a boy he knew, and he got hit by a car. The boy was taken to the hospital. Green Eye felt ashamed of his prank. And since then he stopped playing pranks. And all three eyes now light up in turn and on time, and order reigns on the road” (Karina M. and her mother).
A fairy tale based on a fable: “It’s a warm spring now. The grapes are ripe here. A horned horse runs and jumps in the snow in the summer. Once upon a time there lived a grandfather and a woman. In the spring, their grapes ripened, and not just ordinary ones, but magical ones. If you eat such grapes, horns may grow or it will snow. Grandfather and woman had a horse. One summer, the horse accidentally ate grapes. His horns grew and it began to snow. He was delighted and began to jump for joy in the snow. Imagine how much fun grandma and grandpa had!” A survey of parents revealed examples of children’s word creation: "kepuch"- ketchup, "roll"- sausage, "monoki"- tomatoes, "jackal"- wallet, "monki"- pasta, "kufli" ( shoes), "taratapiki" (slippers), "gunovatik" ( grapes), "podratik" ( square). Later in life: "easternity" ( dance in oriental costume), "pants"( one trouser leg), "glacier"- fridge, "warmer"- microwave, "sippy cup"- funnel, "manager"- TV remote.
Almost all parents wrote that children write riddles on their own. For example: “Semicircular, colored” (rainbow); “A bird with a long neck, it can swim and walk. The wings are large and the legs have webs. Tell me who is this?” (duck); “What looks like a banana in the sky at night?” (month). They make up fairy tales at home. Let's give an example of a fairy tale by Nastya S. “Once upon a time there lived a colorful butterfly in a forest. One day in a clearing she met a grasshopper. She told the Grasshopper that she had once seen children having fun playing with a ball. “Come on, blacksmith, let’s play ball with you too!” " The grasshopper sadly answered: “Where can we find such a small ball?” The butterfly offered to play with a dandelion, but it was very light. Suddenly the grasshopper brought a dewdrop, and a fun game began! What a great ball it was! They did not notice how night came and appeared in the sky bright Star. “Are you going to sleep?” - asked the star. I had to remove the dewdrop before the morning and go to bed.”
The children's writings showed how their artistic associations had expanded. They included images of fairy-tale heroes in their fairy tales and poems, came up with different actions of the heroes, and could develop the plot according to their own logic. The learned method of contamination was clearly revealed; the children easily connected the plots of fairy tales. In poetry, children retain melody and laconicism; in stories, realistic events and figurative language. An analysis of the children's compositions showed that their compositions (riddles, fairy tales, poems, stories) correspond to the chosen genre.
Histogram 2.
Levels of originality in children's essays
Verbal creativity arises and develops where there is purposeful guidance of this activity, where all conditions are created for this activity. It is very important that it is in preschool age that writing becomes a habit and becomes commonplace. Then the desire to communicate, express your thoughts, argue, defend your point of view, and most importantly the desire to create, will not disappear at school.
You can often notice that in the families of artists, children also draw, and in the families of poets, they write poetry. All this is not accidental, and the point here is not only in genes and heredity, but also in the fact that the child had the opportunity to try this type of creative activity at the most necessary moment for further development - in preschool age. The child had accumulated experience that he was able to combine and apply.
Understanding children's creativity is impossible without knowing the following points:
preschool age is the age of rapid accumulation of experience by the child, which in turn is necessary as the basis for any creative activity;
the development of a child’s mental characteristics leads to an expansion of his experience, therefore, by developing attention, memory, thinking, sensation, emotions, we increase the child’s ability to accumulate practical experience, and this in turn will have a beneficial effect on the mechanism of creativity;
syncretism of cognitive processes, more advanced physical capabilities of the child, “problematic” perception of the world - all these are developmental features that are significant in relation to creativity in preschoolers;
All the characteristics of preschool children indicate that the preschool period involves a high degree of manifestation of creativity and is certainly significant for its development.
The proposed hypothesis that the manifestation of verbal creativity will depend on a number of psychological and pedagogical conditions was confirmed.
In order to help a child successfully develop his speech creativity, realize the potential of his speech abilities, and encourage him to create the simplest, most unpretentious stories, fairy tales, and poems, children must be systematically offered creative exercises. Reading literary works and folklore brings to the consciousness of children the inexhaustible wealth of the Russian language, and contributes to the fact that they begin to use this wealth in independent activities - verbal creativity. The use of a variety of creative tasks influences the logic of presentation of children's essays and expands children's understanding of the artistic image.
A.A. Smaga,
L.A. Kharchenko
Features of mastering the grammatical structure of speech
preschool children
Mastering the grammatical structure of speech is carried out on the basis of a certain level of cognitive development of the child. Thus, when forming an inflection, a child, first of all, must be able to differentiate grammatical meanings (meanings of gender, number, case, etc.), since before he begins to use a linguistic form, he must understand that it means teas.
A.N. Gvozdev identifies five periods of formation of the grammatical structure of speech.
The first period (l year 3 months - l year 10 months) is the period of sentences consisting of amorphous root words, which are used in one unchanged form in all cases. This period is divided into two stages:
Stage of using one-word sentences (1 year 3 months - 1 year 8 months);
The stage of using sentences of several words, mainly two-word sentences (1 year 8 months - 1 year 10 months).
The second period (l year 10 months - 3 years) is the period of mastering the grammatical structure of a sentence, associated with the formation of grammatical categories and their external expression. It is characterized by the rapid growth of different types of simple and complex sentences, in which the members of the sentence receive expression in the syntactic means of the language. There are three stages within this period:
The stage of formation of the first forms: number, case, time (1 year 10 months - 2 years 1 month);
The stage of using the inflectional system of the Russian language (inflections) to express syntactic connections (2 years 1 month - 2 years 3 months);
The stage of mastering function words to express syntactic relations (2 years 3 months - 3 years).
A.N. Gvozdev notes that this period is sharply delimited from the first period, and with the subsequent one it does not have sharply defined boundaries.
Third period (3 years - 4 years) - the system of inflections is mastered. Words acquire grammatical design, singular and plural numbers appear, cases are contrasted, verbs acquire tense. In the child’s speech there are already parts of speech and basic grammatical categories characteristic of spoken language, but there is still no complete grammatical correctness.
The fourth period (4 years - 5 years) - a new formation appears: a surge in word creation, complex grammatical constructions of sentences appear (complex, compound). Children master the agreement of adjectives with all forms of nouns. By the end of the 5th year, the number of grammatical errors increases.
Fifth period (5 years - 6 years) - word creation fades, the number of grammatical errors decreases. Simple sentences are always grammatically correct. Complex sentences appear, conjunction and non-conjunction, sentences with a formal coordinative connection (then, then, and), sentences with a cause-and-effect relationship (because), sentences with homogeneous members.
A.N. Gvozdev identified the characteristic features of the formation of the grammatical structure of speech:
1. The child quite accurately identifies the root, prefix, suffix, ending (morphological structure) in a word, but masters these parts of words intuitively.
2. The child forms words by analogy, using elements of words when extracting from another word.
3. The initial period of use of morphological elements is characterized by relative freedom of their use.
4. The child freely uses the morphological elements of the word, which indicates the independent creation of individual forms and words.
A.G. Arushanova identifies several stages in the acquisition of grammatical means and methods of language.
1. Understanding the meaning of what was said (focusing on the ending of the noun, distinguish between where there is one object and where there are many).
2. Using one or the other grammatical means in one's speech, borrowing grammatical forms from the speech of others.
3. Independent formation of the form of a new word by analogy with a familiar one (foals, cubs by analogy with the word form kittens).
4. Assessing the grammatical correctness of one’s own and other people’s speech, determining whether one can or cannot say so.
In the speech of preschoolers A.N. Gvozdev notes isolated examples of isolation (isolated participial phrase; isolated single adjective separated from a noun; clarifying controlled group of words) and gives an example with a rare dividing conjunction “or”).
In older preschool age, complex sentences with two subordinate clauses appear, and there may be subordinate clauses and subordinate clauses of different degrees. Children combine simple sentences into complex ones using conjunctions “when”, “how”, “so that”, “if”, “because”, “that”, allied words “who”, “from-what”, “which” and etc.
The appearance of grammatically formed sentences is preceded by the so-called word-sentences, consisting of one word, representing a complete whole and expressing a message. Sentence words can mean characters, animals, or serve as a designation for objects or actions. The same word-sentence can have different meanings. In some cases, these meanings become clear thanks to intonation, in others - only from the situation, and thirdly, thanks to gestures. The use of words-sentences, according to the observations of A.N. Gvozdev, occurs approximately between the ages of 1 year 3 months and 1 year 8 months.
Characterizing this stage of development, A.A. Leontiev notes that the word and the sentence are not distinguished; more precisely, the equivalent of a sentence is a word that is included in a particular objective situation.
Around the middle of the second year of life, two-word sentences appear in the child’s speech. It is their appearance that speaks of the first step in the development of a sentence from a “primary syntactic whole.” An important factor is that the child independently constructs these sentences.
By the age of two, three to four complex sentences appear, which can be considered as the initial stage of mastering the grammatical structure of a sentence. It is associated with the formation of grammatical categories and their external expression. According to A.A. Leontyev, at this time the first complex sentences appear. Thus, at the age of 1 year 9 months, the child begins to pronounce complex non-conjunct sentences.
The main types of complex sentences are learned by the age of three. Initially they are used without conjunctions, then with conjunctions ( When you wake up, I'll give you some candy). Children use both coordinating and subordinating conjunctions ( The girl sat down on a chair and put on her felt boots. The girl sat down on a chair to put on her felt boots.).
As noted in his work “Speech Development of Children from Three to Five” V.I. Yadeshko, the fourth and fifth years of life are a further stage in mastering the system of the native language. In children's speech, simple common sentences still predominate (57%), but their structure becomes noticeably more complicated due to an increase in the number of sentence members. For the first time, sentences with homogeneous circumstances, homogeneous additions and definitions appear. Children also use complex sentences, accounting for 11% of total number proposals.
The structure of complex sentences also becomes more complex. There are often cases when before the listing of homogeneous members in one of the simple sentences that are part of a complex sentence, there is a generalizing word. Among subordinate clauses, the most common are additional subordinate clauses, subordinate clauses of time, reasons, places, comparatives, conditions, less often definitive clauses, purposes, measures and degrees.
In the monologue statements of children of senior preschool age, there are complex sentences of a complicated type, which consist of three or more simple sentences, united by either a coordinating or subordinating connection.
G.M. Lyamina notes that up to the age of four, a child easily comments on what he sees, talks about what he will do or has done, but is silent when performing his own actions.
In the fifth year of life, according to G.M. Lyamina, in children there is an increase in the desire and ability to confirm their activities with speech. True, 90% of children’s statements in these cases consist of simple sentences. Preschoolers of this age have a great need to explain to each other what they see and know. In these situations, children say so much complex sentences, how much you won’t hear from them even in very cognitively rich classes in their native language.
Abstract of the dissertationSelf-development, self-realization, development all personalities or individual ones... development productive interactions with the child while solving rehabilitation problems), psychologically-pedagogicalconditions formation, direction of formation ( pedagogical ...
Psychological and pedagogical support of the educational process
Collection of scientific and methodological articles... psychologically-pedagogical support that helps track the performance of those created for developmentpersonalitiesconditions and the educational process itself. Psychological-pedagogical ...
“Psychological and pedagogical support for a child’s life in pre-school education” (recommendations for parents, educators and teachers) under the general editorship
Document... , development individual abilities and inclinations. Education involves developmentpersonalities child, requires the creation of age-appropriate psychologically-pedagogicalconditions ...
PROGRAM
For children 7-10 years old
The program was compiled by: Ph.D. ped. Sciences I.A. Kirshin
Kaliningrad 2014
Explanatory note
Needs to be organized pedagogical environment
Basic goals :
Main goals:
First conceptual component
Target
The third basic component is pedagogical conditions
- pedagogical environment -
- creative dialogue -
- club forms of activity
The role of the teacher
The role of the child
The nature of the child’s motivation
- only with my heart
Diagnosis of the result
Diagnostic methods
Educational and thematic plan
| № | Subject | Watch |
| 1. | ||
| 2. | Storytelling from a picture | |
| 3. | Writing riddles | |
| 4. | Writing a story | |
| 5. | Creative storytelling. | |
| 6. | Writing tongue twisters | |
| 7. | Essay couplet | |
| 8. | Storytelling from a picture | |
| 9. | Creative storytelling | |
| 10. | ||
| 11. | ||
| 12. | Writing the basics of a script | |
| 13. | Writing a fairy tale | |
| 14. | ||
| 15. | ||
| 16. | ||
| 17. | ||
| 18. | Writing poetry | |
| 19. | Storytelling from a picture | |
| 20. | ||
| 21. | TOTAL |
Writing riddles.
1) word games: charades;
2) reading Russian folk riddles;
3) emotional and practical preparation of children for writing riddles;
4) writing riddles;
Writing a story.
1) word games: literary shifters;
2) emotional and practical preparation of children for storytelling based on the picture;
3) reading the stories of E. Kuznetsova “A good word heals, but a bad word cripples”, “We quarreled”;
4) writing stories;
5) homework: write a story.
Writing tongue twisters.
1) warm-up – stage sketches: “we are forest animals”;
2) emotional and practical preparation of children for composing tongue twisters;
3) reading Russian folk tongue twisters;
4) writing tongue twisters;
5) discussion of the received works.
Essay couplet.
1) word games: “guess the letter”;
2) emotional and practical preparation of children for composing couplets;
3) reading B. Zakhoder’s couplets;
4) writing couplets in pairs;
5) discussion of the received works.
Storytelling from a picture.
1) verbal games: joke poems;
3) Compiling a descriptive story based on the reproduction of I. Grabar “March”
4) writing a collective story based on the picture;
5) discussion of the received works.
Creative storytelling.
1) word games: puzzles;
2) emotional and practical preparation of children;
3) reading N. Nosov’s story “Why”;
4) writing individual stories;
5) discussion of the received works.
Writing a story.
1) warm-up – stage sketches;
2) emotional and practical preparation of children;
3) writing stories in pairs;
4) reading L. Tolstoy’s story “Fire Dogs”;
5) discussion of the resulting works, comparison with the master’s work.
Writing the basis of the script.
1) warm-up – stage sketches: “we are cats”;
2) emotional and practical preparation of children;
3) writing scenarios in pairs;
4) acting out children's scenarios;
5) discussion of the received works.
Writing fairy tales.
6) word games: scanwords;
7) emotional and practical preparation of children;
8) reading N. Kalinin’s fairy tale “About the Snow Bun”.
9) writing collective fairy tales;
10) discussion of the received works.
Writing poetry.
1) warm-up – stage sketches: “we are birds”;
2) emotional and practical preparation of children;
3) reading poetry by A. Barto;
4) writing poetry in pairs;
5) discussion of the received works.
Storytelling from a picture.
1) word games: “the letters are hidden”;
2) emotional and practical preparation of children;
3) display of the painting and compilation of a descriptive story based on the reproduction of A. Savrasov “The Rooks have Arrived”;
4) discussion of the received works.
PROGRAM
additional education for children
Development of children's verbal creativity
For children 7-10 years old
The program was compiled by: Ph.D. ped. Sciences I.A. Kirshin
Kaliningrad 2014
Explanatory note
The basis for the program was the ideas of the School of Life of Sh. A. Amonashvili, as well as the following provisions:
Children's verbal creativity is the written or oral expression by a child of subjectively significant verbal content for him, which has the following qualities: fantasy, sincerity, mastery of words, a sense of humor and lyricism, relevance for the author.
To develop children's verbal creativity, it is first of all necessary to identify the child's needs and the motives for his activities.
Needs to be organized pedagogical environment, in which these needs of the child will be satisfied. The pedagogical environment is a team of like-minded people, consisting of teachers, parents and children who are in creative contact. This team carries out a single activity that should evoke strong feelings in the child. positive emotions, since only such emotions give rise to a vivid image in the imagination. As a result of such activity, the child is invited to realize the image that has arisen (write, draw, play, depict).
The pedagogical environment should cover all aspects of a child’s life, satisfy his physiological, moral, aesthetic and other needs. Only by creating a full-fledged childhood life for a child do we have the right to expect creative manifestations from him.
True creativity is possible only as a holistic lifestyle, as general principle system of relationships with the child, and not as a separate technique in the lesson - only in this case creativity will become diverse and full-fledged. Therefore, a teacher must be able to accept a child’s life with everything that is in it, be able to participate in it, and be able to earn the love and respect of children. Only by immersing yourself in a child’s life in this way will a teacher be able to identify the true needs of children and create conditions for their satisfaction.
The pedagogical environment, on the one hand, creates conditions for the manifestation of children’s spontaneous creativity (horizontal level), on the other hand, saturates children with beautiful images, encouraging the creative element to rise upward - to the heights of Goodness, Love and Beauty (vertical level). The unification of these levels by the pedagogical environment should give completeness and balance to the development of children’s verbal creativity.
Basic goals :
Raising a Noble Person
Development of creative abilities;
Development of verbal and creative abilities;
Development of communication abilities.
Main goals:
To captivate children with the joy of creativity;
Unleash their verbal and creative potential;
Create a creative children's team;
Instill in children universal human values.
Basic principles pedagogical activity:
Close cooperation of teachers in a single activity;
Constant self-improvement of each teacher ( creative growth in the chosen field of art, personal development, improvement of pedagogical qualities);
Informal relationships with children;
Creative dialogue between teachers and children.
First conceptual component The model consists of a humane-personal approach developed by Sh.A. Amonashvili.
On the indicated conceptual foundation, the second one is built, verbal and creative component, which represents the methodological support of the model. When creating a program for children’s verbal creativity, we relied on the developments of V.A. Levin, G.N. Kudina, Z.N. Novlyanskaya and A.A. Melik-Pashaev, L.E. Streltsova and N.D. Tamarchenko, J. Rodari.
Target- transform play with art into communication with art. For this purpose they decide two series of pedagogical tasks. The first row is aimed at preserving in children the properties inherent in a preschooler: spontaneity, emotional integrity and individual originality of perception; desire to play with artistic forms; the desire to act freely in an imaginary situation; the joy of doing art and the need for such activities.
The second set of tasks is aimed at ensuring artistic development child. These tasks are solved by combining two areas of activity: the first is familiarity with children's classics, the second is your own creativity. This combination determines the successful development of children's verbal creativity.
Features of performing creative tasks:
Performed only voluntarily;
Performed in class or at home (at the child’s request);
The child’s works are read only with his consent;
The teacher completes tasks together with the children;
Creative works teachers are discussed along with the children’s work.
The third basic component is pedagogical conditions development of children's verbal creativity:
- pedagogical environment - a team consisting of teachers, parents and children who are in constant creative contact. This team carries out unified activities based on a humane-personal approach (Sh.A. Amonashvili);
- creative dialogue - a specific type of communication, which is the discovery, expression and transmission to others of the personal meaning of phenomena in an aesthetic form. The purpose of verbal creative dialogue is to identify and develop the child’s own speech style;
- club forms of activity - lively, flexible, non-programmed activities that correspond to children’s nature (games, music, theater, visual arts, modeling, etc.).
All components constitute a single holistic pedagogical process, in which the following characteristics can be distinguished:
The role of the teacher- a teacher in the position of an encouraging assistant.
The role of the child- a child in the position of a freely creative subject.
The nature of the child’s motivation- predominantly internal, individual motivation.
Subject of the teacher’s organizing efforts- inspiration of the child (a state of positively colored emotional and intellectual tension), filling him with images of goodness, love and beauty.
The nature of interactions between teacher and child- empathy, personal involvement of teacher and child.
Specifics of pedagogical impact- only with my heart The teacher can touch and guide the development of the child’s creative abilities. Brutal pressure on a child or teacher distorts the pedagogical process, therefore, for the successful implementation of goals, a caring and sensitive atmosphere is necessary as the main condition.
Diagnosis of the result- the results in the form of products of children's verbal creativity are diagnosed.
Diagnostic methods: self-assessment, mutual assessment, method expert assessments(carried out by qualified specialists in the field of literary creativity or teaching literature as an art), conversation with parents and teachers. It should be borne in mind that significant success cannot be expected from every child right away - a long process of maturation of creative abilities is necessary.
Educational and thematic plan
| № | Subject | Watch |
| 1. | Creative storytelling. "Let's talk on the phone." | |
| 2. | Storytelling from a picture | |
| 3. | Writing riddles | |
| 4. | Writing a story | |
| 5. | Creative storytelling. | |
| 6. | Writing tongue twisters | |
| 7. | Essay couplet | |
| 8. | Storytelling from a picture | |
| 9. | Creative storytelling | |
| 10. | Writing a detective story | |
| 11. | Writing a multi-part story | |
| 12. | Writing the basics of a script | |
| 13. | Writing a fairy tale | |
| 14. | Composition humorous story | |
| 15. | Telling stories about toys | |
| 16. | Writing a satirical story | |
| 17. | Munchausen Competition: “Inventing a Tale” | |
| 18. | Writing poetry | |
| 19. | Storytelling from a picture | |
| 20. | Composing a fairy tale using the cards of J. Propp | |
| 21. | TOTAL |
Verbal creativity of preschool children The study of verbal creativity, the creative activity of a child, the search for ways to form it is one of priority areas modern pedagogical science in the 21st century.
creativity is an activity as a result of which a person creates something new, original, showing imagination, realizing his plan, independently finding the means to implement it. . two main indicators of creativity have been identified: 1. it must be of social value and 2. produce completely new products. According to psychologists,
Does children's creativity correspond to these indicators? The answer to this question is still controversial among researchers of this problem.
The huge role of creativity is determined by the fact that it opens up new values of cognition, transformation, and experience for the child, which enrich his world and contribute to the manifestation of the creative qualities of the individual.
Verbal creativity of preschoolers is the activity of children that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems (O. S. Ushakova, A. E. Shibitskaya, M. V. Fadeeva, etc. .).
In pedagogical studies devoted to the problem of the formation of verbal creativity, it is proved that creative speech activity is successfully carried out in senior preschool age under the influence and as a result of special training, an important condition of which is the choice of means (E. P. Korotkova, E. I. Tikheeva, O . S. Ushakova, E. A. Flerina and others)
One of the most accessible and pedagogically effective means of developing creative speech skills in children is called folklore, a fairy tale (L. M. Pankratova, V. A. Sukhomlinsky, A. E. Shibitskaya).
There are 2 points of view on the process of children's creativity: 1. creativity is the result of the internal spontaneous forces of the child and an adult should not interfere with it creative process, as this leads to a lack of individual expression of personality. This is how a child copies an adult.
2. Others recognize the intuitiveness and originality of children's artistic creativity, but consider the reasonable influence of the teacher necessary. They recognize the need to create appropriate conditions, for children to acquire artistic experience, and to teach creative work techniques.
At stage 1, the role of the teacher is to organize life observations. Teach a figurative vision of the environment, i.e. perception that has an aesthetic coloring. It is important that children realize that some things can be changed and transformed.
Stage 2 is the actual process of children's creativity: the emergence of an idea, the search for artistic means. The role of the teacher is to create a joyful atmosphere full of interesting experiences and provide the inner need for self-expression in creativity. Particular attention should be paid to the child’s mastery of methods of sensory examination of objects. Help children master the simplest artistic means.
Stage 3 is the creation of new products. The child begins to be interested in the quality of the products of his creativity and experiences aesthetic pleasure, striving to give them completeness. But the experiences of preschoolers will be even more complete if he is convinced that his work is interesting not only to him, but also to those around him. Therefore, the analysis of children's products carried out by the teacher is so important.
Verbal creativity of preschoolers can manifest itself in the following forms: - word creation (in the narrow sense); - writing poems; - writing your own stories and fairy tales; - creative retellings of literary texts; - inventing riddles and fables.
signs of creative storytelling: - passion, engrossment in the activity; - the ability to modify, transform, combine existing ideas and create new images and situations based on them; - the ability to present an event in the sequence of its development, to establish dependencies between individual events; - use of appropriate linguistic means to create an image; - independence in the search for images and plot development; - variability, i.e. the ability to come up with several versions of essays on one topic.
When teaching storytelling, different types are used creative essays: - coming up with a continuation and completion of the story, the beginning of which is reported by the teacher; - inventing a story (fairy tale) according to the teacher’s plan; - coming up with a story on a topic proposed by the teacher (without a plan); - inventing a story (fairy tale) on an independently chosen topic; - inventing stories (fairy tales) based on literary models.
Teaching methods: - joint compilation of a story with the teacher; - questions from the teacher (there should be few of them); - plan for the story; -repetition of the story plan; - drawing up a plan for children; - analysis and evaluation of stories.
According to psychologists, creativity is an activity
as a result of which a person creates something new, original, showing imagination, realizing his plan, independently finding the means to implement it.
The largest Russian scientist and psychologist L.S. Vygotsky gave the following definition of the concept of creative activity: “We call creative activity such human activity that creates something new, no matter whether what is created by creative activity is some kind of thing.” outside world either by the construction of the mind, or by a feeling that lives and is revealed in the person himself.” In addition, he emphasized that “the imagination does not repeat impressions that have been accumulated before,
but builds some new series from previously accumulated impressions. Introducing something new into our impressions and changing these impressions so that the result is a new, previously non-existent image.”
L.S. Vygotsky revealed the mechanism for creating imagination images: “A person accumulates material from which his fantasy is subsequently built. What follows is a very complex process of processing this material. The most important components of this process are dissociation and association of perceived impressions."
An analysis of psychological and pedagogical research has shown that creativity is characterized by scientists by two main indicators: it must be of social value and produce completely new products.
In order to determine whether children's creativity corresponds to these indicators, it is necessary to turn to the research of psychologists (L.S. Vygotsky, B.M. Teplov, D.B. Elkonin) and teachers (N.A. Vetlugina, E.A. Flerina, A.E. Shibitskaya). They prove that creative activity meets the needs and capabilities of the child and is accompanied by his emotional and intellectual activity,
and ensures the formation of methods of unified creative cognition, implemented in various activities
In the works of B.M. Teplova, A.V. Zaporozhets, L.A. Wenger emphasized the leading role of education, training, and the determining importance of pedagogical activity in the development of artistic and creative abilities. Transforming imagination into a deliberate, purposeful one is the task of the teacher, and with some work with it, the preschooler develops a recreating imagination, the result of which is the creation of an image in accordance with the description, drawing, diagram, task. The image created by a child is always a personal formation, therefore even the most elementary cognitive act, leading
to the creation of a subjective image, begins on the initiative of the subject, is determined by his internal attitudes and emotions, i.e. reflects his internal state (L.A. Wenger).
Tikheyeva E.I. emphasizes that, by its nature, children's creativity is synthetic, often improvisational in nature and makes it possible to judge individual manifestations quite fully and identify them in a timely manner.
In the development of children's artistic creativity N.A. Vetlugina identifies three stages. At the first stage, the role of the teacher is
in organizing those life observations that influence children's creativity. If a child has to reflect life experiences
in a fairy tale, a story, then he must be taught to visualize the surroundings,
i.e., perception that has an aesthetic coloring. The imaginative vision must be holistic: the child must consider the phenomenon not in isolation, but in its multilateral connections. This develops his ability to find relationships between various objects and phenomena. Children's observations help develop combinatorial abilities. It is important that they realize that some things can be changed
and transformed.
Art plays a special role in the development of children's perception.
It helps the child to feel more keenly the beauty in life, enriches the world of his emotional experiences, and contributes to the emergence of artistic images. This stage precedes the creative activity itself, however, the development of perception, the accumulation of artistic and life experience are closely related to the subsequent artistic and creative activities of children.
The second stage is the actual process of children's creativity.
It is directly related to the emergence of an idea, to the search for artistic means. The process of children's creativity is not very developed
in time. The creative act takes place “in one breath.” The child gives a quick release to his feelings and, according to L.S. Vygotsky, “creates
in one go."
The role of the teacher is, according to a number of authors, to create a joyful atmosphere full of interesting, sometimes unexpected experiences, which is necessary for the child to successfully carry out creative activities and ensure the internal need for self-expression in creativity. It is important to provide variability in situations
in which the child will have to act, as this will activate his mental activity. To develop creativity, it is necessary to change conditions from time to time, to combine individual
and teamwork. Particular attention should be paid to the child’s mastery of methods of sensory examination of objects. The wider the children’s orientation in the most diverse properties of objects
and phenomena, the more vital and imaginative their creativity will be.
In order for a child to express himself naturally and freely in creativity, he must master the simplest artistic means. The teacher's task is to help him with this.
The third (final) stage is characterized by the creation of new products. At this stage, the child begins to be interested in the quality of the products of his creativity and experiences aesthetic pleasure, striving to give them completeness. But the experiences of preschoolers will be even more complete if he is convinced that his work is interesting not only to him, but also to those around him. Therefore, the analysis of children's products carried out by the teacher is so important.
M.V. Fadeeva offers a system that will help determine the level of creative capabilities and methods for developing the creative abilities of children. As criteria for this level, she names such moments as the desire to choose one’s own ideas or topics;
to express them through your own means; to organize them own methods. At the present stage, there is a search for the most effective ways and means of developing children's creativity.
So, the analysis of psychological and pedagogical literature on this issue showed that artistic creativity cannot be carried out without the participation of an adult who helps the child create
and takes on the functions of a critic and partly a creator, i.e. functions that are inaccessible to a preschooler due to his age characteristics
(N.A. Starodubova).
In the development of children's artistic and creative abilities, education and training play a leading role. An adult teaches a child special skills that are the basis for the development of creativity.
Due to lack of or poor training, a “creativity decline” occurs. Only with proper pedagogical guidance and training can high results be achieved.
The concept of “verbal creativity,” according to T.N. Ushakova, can be applied to any case of creativity associated with words.
At the same time, it refers to two, although related, but still fundamentally different areas: creativity in speech and creativity in language. Speech creativity leads to the creation of a new speech product, i.e. a new text, oral or written, of any volume, in any of its forms - prose, poetic, codified, free, monologue, dialogic, etc. Unlike speech, linguistic creativity is associated with processes that lead to transformation in the language system itself - both in an individual and in the national language
The study of the problem of the development of children's verbal creativity, due to the complexity and versatility of the nature of speech phenomena, is closely related to the principles of psychology, linguistics, psycholinguistics and pedagogy.
The psychological aspect includes the peculiarities of perception of a literary work (L.M. Gurovich, A.V. Zaporozhets,
N.S. Karpinskaya, O.I. Nikiforova, S.L. Slavina, O.I. Solovyova,
E.A. Flerina, N.A. Tsivanyuk) and the activities of children’s imagination
(L.A. Wenger, L.S. Vygotsky, O.M. Dyachenko, S.L. Rubinstein,
MM. Rybakov) as the basis of speech creativity. The creation of a speech work occurs as a result of the processing of visual images - ideas obtained during perception, and the translation of selected combinations into the language of verbal signs that adequately reflect the content of the images.
Within the framework of the linguistic approach, a coherent utterance (text) is considered as a product of speech activity, having its own internal structure and categorical characteristics
(S. Gindin, I. R. Galperin, T. M. Dridze, L. A. Kiseleva, L. M. Loseva,
O.I. Moskalskaya, E.A. Referovskaya, G.Ya. Solganik).
Pedagogical studies devoted to the problem of the formation of verbal creativity prove that creative speech activity is successfully carried out in older preschool age under the influence and as a result of special training, an important condition of which is the choice of means (L.M. Voroshnina, E.P. Korotkova,
ON THE. Orlanova, O.N. Somkova, E.I. Tikheyeva, O.S. Ushakova, E.A. Fleurina
and others).
Verbal creativity is a process associated with the general development of the child. There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without a child mastering the richness of the language in which he speaks and thinks. Of course, we understand this mastery in accordance with the characteristics of preschool age.
In domestic pedagogy, the problem of verbal creativity of preschool children was considered in the works of E.I. Tikheeva, N.S. Karpinskaya, O.S. Ushakova and others.
In particular, in the study of O.S. Ushakova, the author shows how the development of a poetic ear influences the development of children’s creative verbal activity, helping to cultivate in children a flair for their native word, sensitivity to fiction, and an understanding of the characteristics of genres. And, most importantly, a poetic ear helps children transfer learned words and expressions into their compositions, helps them realize the connection between the content of a literary work and its artistic form, and more subtly sense the beauty of the artistic word.