Game library around the family.
Dear parents! You are offered games that will help your child make friends with words, teach them to tell stories, find interesting words, and thereby make your child’s speech richer and more varied.
These games can be interesting and useful for all family members. They can be played on weekends, holidays, and on weekday evenings, when adults and children get together after another working day.
When playing with words, take into account the child’s mood, all possibilities and abilities.
Play with your child as equals, encourage his answers, rejoice in success and small victories!
"ONLY FUN WORDS."
It's better to play around. One of the players determines the topic. You need to say one by one, for example, only funny words. The first player says: "Clown." Second: "Joy." Third "Laughter", etc. The game moves in a circle until the words run out.
You can change the topic and name only green words (for example, cucumber, Christmas tree, pencil, etc.), only round ones (for example, clock, bun, wheel, etc.)
"POBERISLOVO".
The child is asked to select words denoting characteristics for any object, object, or phenomenon. For example,winter,which?(cold, snowy, frosty).Snow, what a? (white, fluffy, soft, clean)
"WHO CAN DO WHAT?"
The child is asked to select as many words and actions as possible for any subject or object. For example, what can a cat do? (purr, arch its back, run, jump, sleep, scratch, lap).
"AUTOBIOGRAPHY".
At first, one of the Adults takes the leading role and imagines himself as an object, thing or phenomenon and tells a story on his behalf. The rest of the players should listen carefully and, through leading questions, find out who or what they are talking about. The player who guesses this will try to take on the role of the Leader and reincarnate into some object.
For example, “I am in every person’s house. Fragile, transparent. I perish from a careless attitude, and it becomes dark not only in my soul... (light bulb).”
"MAGIC CHAIN".
The game is played in a circle. One of the Adults names a word, for example, "honey",asks the player standing next to him what he imagines when he hears this word?
Some other family member answers, for example, "bee". The next player hearing the word"bee", must name a new word that is similar in meaning to the previous one, for example,"pain"etc. What might happen?Honey - bee - pain - red cross - flag - country - Russia - Moscow.
"BALL WORDS".
Children and an adult play in pairs. The adult throws balls to the child and at the same time pronounces the word, for example, "quiet". The child must return the balls and say the word with the opposite meaning."loud". Then the players switch roles. Now the child is the first to pronounce the word, and the adult matches it with a word with the opposite meaning.
"FUNNY RHYMS".
The players must match the words with rhymes.
Candle - ... stove; pipes - ... lips; racket - ... pipette; boots - pies, etc.
" IF SUDDENLY …".
The child is offered some unusual situation from which he must find a way out and express his point of view.
For example , If suddenly the Earth disappears:
* all buttons; * all knives; * all matches; * all books, etc.
What will happen? How can this be replaced? The child can answer: “If suddenly all the buttons on Earth disappear, nothing bad will happen, because they can be replaced: with ropes, Velcro, buttons, a belt, etc.” You can offer the Child other situations, for example,if I had:
* living water; * flower - seven flowers; * carpet - airplane, etc.
Didactic games for the development of verbal creativity
2. "Let's tell a story together"
3. "Magic glasses"
4. "Box of Fairy Tales"
5. "The Magic Trumpet"
6. “Help Kolobok” (1 option)
7. “Help Kolobok” (2nd option)
8. "Let's play Turnip"
9. "An old fairy tale in a new way"
10. "Create an unusual creature"
11. "Magic Tree"
12. “Who came to the New Year’s carnival?”
13. "Magic items from a wonderful bag"
14.
15. "Nonsense"
16. "Transformations"
17. “How to escape from a sorcerer?”
18. "Make up a story"
19.
20.
21. "Pantomime"
22. "Correct the mistake"
1. Lotto “Journey through Russian folk tales”
(for children from three years old)
Target:Arouse in children the need for communication, develop visual attention.
Equipment:6 large lotto cards with images of 6 fairy tale characters, 36 small cards with the same images.
The second part of the game is played as follows: the child is given a lotto sheet, then the leading player selects one of the small cards placed picture down, shows the picture, and names the character. The child who has the lotto sheet with this image takes a small card and covers the image on the large card. The winner is the one who covers all the images on the lotto sheet first.
2. "Let's tell a story together"
(for children from three years old)
Target:Continue to develop children's skills verbal communication, strive to ensure that children enter into genuine communication, i.e. acted emotionally.
Equipment:Pictures depicting successive episodes of fairy tales.
3. "Magic glasses"
(for children from five years old)
Target:Development of creative speech skills, creative imagination; mastering the concept of time.
4. "Box of Fairy Tales"
(for children from four years old)
Target:Development of coherent speech, imagination, creative thinking.
Equipment:8 – 10 different figures, box.
Content: The presenter offers to randomly remove figures from the box. We need to figure out who or what this object will be in the fairy tale. After the first player has said 2 - 3 sentences, the next one takes out another object and continues the story. When the story is over, the items are collected together and the new story. It is important that each time you get a complete story, and that the child comes up with different options for actions with the same object in different situations.
5. "The Magic Trumpet"
(for children from four years old)
Target:development of vocabulary, imagination, cognitive function; the child’s mastery of the opposite character traits of fairy-tale characters.
Equipment:A magazine or sheet of paper rolled into a tube.
Content: The presenter shows the “magic pipe” and says that if you look through it at a fairy-tale character, he will change his character traits, for example, to the opposite. The presenter asks the child to look through the pipe at the heroes and tell how they have changed.
6. “Help Kolobok” (1 option)
(for children from four years old)
Target:development of coherent speech, creative imagination, thinking, memory; determining the sequence of events.
Equipment:Cards with a plot from the fairy tale “Kolobok” (made from two little books - a card for each plot).
Content: The presenter reminds the child of the fairy tale “Kolobok” and shows the cards. Then the pictures are mixed, the child takes out any of them and continues the story from the place to which the picture corresponds.
If the child succeeds, invite him to tell the story in reverse order, as if the film was running backwards. If possible, show on the VCR what this means.
7. “Help Kolobok” (2nd option)
(for children from five years old)
Target:Nurturing good feelings; development of imagination, creative thinking, coherent speech.
Equipment: Fairy tale “Kolobok”, cards made from two little books, multi-colored circles: yellow (Kolobok), gray (wolf), white (hare), brown (bear), orange (fox).
Content: The presenter asks the children to remind him of the fairy tale about Kolobok, using pictures or colorful circles. Ask the kids to figure out how to save Kolobok. Let the children figure out what will happen to Kolobok if he escapes from the fox, who he will be friends with, where his home will be. These and other leading questions will help your child come up with an interesting story.
8. "Let's play Turnip"
(for children from five years old)
Target:Development of speech and creative imagination; training in symbolic playback of the plot; color designation of fairy tale heroes; assimilation sequence of events.
Equipment:Mugs: yellow (turnip), green (grandmother), brown (grandfather), Content: The presenter tells a confusing tale. Starts with “Turnip”, includes characters from other fairy tales. The child will notice mistakes and as a result will retell “Turnip”.
At first, you can allow the use of picture prompts. When the child has answered, ask him to come up with some kind of fairy tale with these new characters. Children who successfully complete the task come up with stories of two or three sentences and notice almost all mistakes.
9. "An old fairy tale in a new way"
(for children from four years old)
Target:Development of coherent speech, imagination, creative thinking.
Equipment:fairy tale "Three Bears", circles indicating bears (brown different sizes), red circle (girl).
Ask your child to come up with a “reverse fairy tale”:
a) the bears got lost and ended up with the girl. What would they do?
b) the bears turned out to be good, but the girl was evil. How would they behave?
The presenter suggests using circles to act out a new fairy tale.
You can use other fairy tales as well.
10. “Create an unusual creature”
(for children from five years old)
Target: Development of word creation, imagination, ability to analyze and distinguish between real and fantasy images; broadening your horizons.
Equipment:A set of cards depicting various objects, plants, birds, animals, flowers, fairy tale characters, etc.
Content: Give the child two cards at once. Let the kid come up with a character that would combine the properties of two characters at once. For example, when adding the animals dinosaur and pig, we get other non-existent animals: pigsaurus or diniña. So you can fold different words(oak + rose = oakberry, dragonfly + goat = dragonfly, etc.). Don’t limit your baby’s imagination, or your own! Properties can be taken from different plants, birds, animals, objects, etc., as long as the source is named.
11. "Magic Tree"
(for children from three years old)
Target:Expanding the volume of vocabulary and horizons; development of creative speech skills, the ability to solve riddles.
Equipment:A tree made of cardboard with pockets for pictures; a set of images of objects on the lexical topic being studied.
Pictures are laid out in front of the children. An adult makes a riddle about one of the objects shown in the picture. The child who has correctly guessed the riddle looks for the corresponding image and “hangs” this picture on the “Miracle Tree”.
Complication (for children from five years old). Invite children to come up with new properties of objects placed on the “magic tree”: “Try to think of what magical property the object on our magic tree will have.”
12. “Who came to the carnival?”
(for children from four years old)
Target:Expanding the volume of vocabulary and horizons; development of figurative memory, verbal creativity.
Equipment:An image of a New Year tree with pockets around the tree for “fairy-tale characters”; a set of fairy-tale characters from the fairy tale being studied.
Complication.After all the heroes “take” their places, the children are asked to come up with the content of the conversation between the fairy-tale heroes. “Try to think of what fairy-tale characters will talk about at the New Year’s carnival.”
13. "Magic items from a wonderful bag"
(for children from five years old)
Target:Expanding the volume of vocabulary, developing tactile perception, clarifying ideas about the characteristics of an object; development of creative thinking, verbal creativity.
Equipment:An elegantly decorated bag, small toys.
Content:First, children get acquainted with toys: they look at them, name them, and highlight their qualities. The first player puts his hand into the bag, feels for one toy, recognizes it and calls it: “I have a cup.” Only after these words can the child take the toy out of the bag, examine it, show it to all the children and tell about its new magical qualities.
Complicated version : before taking an item out of the bag, you need to determine its shape (round, oblong), the material from which the object is made (rubber, metal, plastic, wood), surface quality (smooth, rough, cold, slippery).
14. "Create a riddle about a magical animal"
(for children from four years old)
Target:Development of creative thinking, the ability to compose descriptive stories about animals; clarifying ideas about the actions of animals.
Equipment:Subject pictures, chips, support diagram for describing animals.
Low difficulty level. Children are given object pictures (4 pieces each). One player chooses and guesses any picture out of four. An adult asks him questions about the animal: “What is the animal’s size, color, where does it live?” “What kind of fur, ears, tail?” “What can an animal do?” The child who thought of an animal answers: “The animal is small, gray, lives in the forest, can jump. The fur is thick, the ears are long, the tail is short.” Questions are asked until one of the players guesses which animal is guessed. A chip is awarded for the correct answer.
Medium difficulty level. The game uses 4 pictures. The children ask the player questions one by one: “What color is the animal?”, “What size?” etc. Children play without the participation of an adult.
High level of difficulty. An adult distributes more than 4 pictures to each participant. The child talks about the characteristics of the hidden animal (“comes up with a riddle”) on his own.
Complication (for older preschoolers). Invite the children to come up with what magical actions the animals will have. “Try to think of what magical action an animal can perform.”
15. "Nonsense"
(for children from four years old)
Target:Development of the ability to distinguish between reality and fantasy; clarification of ideas about the subject, natural phenomena.
Equipment:Identical black and white plot pictures depicting absurdities (according to the number of children), colored pencils.
Low difficulty level. Each child is given a black and white picture depicting absurdities. Children look at the picture. The adult invites the children to name what is shown incorrectly in the picture. Then the adult offers to color with colored pencils only those images that correspond to the truth of what may actually be.
Medium difficulty level. Children compete to see who can see and name the most absurdities. An option for using adult help is to have reference words indicating an error and the correct option. In accordance with the named pair of words, children find the mistake in the picture. At the end of the task, children color what is shown correctly in the picture.
High level of difficulty. Children complete the task without the help of an adult. By pointing out the absurdities, they give the correct options. After this, the children color what is shown correctly in the picture.
16. "Transformations"
(for children from four years old)
Target:Development of the ability to identify essential features of objects.
Equipment:Kaleidoscope, subject pictures (cup, cap, jug, bottle, sofa, chair, armchair).
The adult draws the children's attention to the fact that the presence or absence of certain details in an object is an important sign by which we recognize this object and call it by one word or another.
17. “How to escape from a sorcerer?”
(for children from five years old)
Target:development of coherent speech, imagination, creative thinking.
Equipment:a set of small toys or object pictures of 8-10 pieces (substitutes can be used in the future).
After this, the child is asked to combine the objects into a single plot. If the child understands the task, then you can immediately give him a set of toys or pictures.
If a child experiences any difficulties, it is necessary to help him. For example, take the first two cubes you come across and come up with your own story: “Once a butterfly met a hedgehog, was very surprised and asked him why the hedgehog didn’t fly. The hedgehog replied that he cannot fly, but he can curl up into a ball. And he offered to teach the butterfly this. Since then they have become friends."
18. "Make up a story"
(for children from five years old)
Target:Development of understanding and activation of words with a general meaning; development of coherent speech and verbal creativity.
Content:An adult invites the child to come up with a story (story, fairy tale) about vegetables, pets, dishes, transport, etc. An adult gives a sample story and helps to come up with a beginning. Stages of plot development (“Once upon a time there was a commotion in the village...”, “One night the toys came to life and...”). In this game, the child not only consolidates his understanding of general words, but also updates vocabulary on the topic and develops verbal creativity.
19. “It happens - it doesn’t happen” (1 option)
(for children from four years old)
Target:Development of the conceptual aspect of the meaning of words with a general meaning, clarification of their meaning; development of creative thinking.
Complication.Invite the children to come up with a false or true judgment themselves. “Try to come up with a sentence yourself that contains the truth, i.e. which may be a lie, i.e. which cannot be."
Sample speech material:
· fruits grow on trees;
· vegetables grow on bushes;
· jam is made from the berries;
· shoes warm the human body in the cold season;
· the store sells products;
· wild animals live in the forest;
· migratory birds fly south in the spring;
· furniture is needed for human convenience;
· clothes are worn on the legs;
· in summer the puddles are covered with ice, etc.
20. “It happens - it doesn’t happen” (2nd option)
(for children from five years old)
Goals:Formation of semantic fields, expansion of the dictionary of antonyms; development of creative abilities.
Sample speech material:
· Thumbelina is taller than Snow White, and Gulliver is shorter than the Lilliputians;
· The Talker Bird likes to be silent loudly;
· The Snow Queen loves summer because it snows in summer;
· Winnie the Pooh loves honey because it is bitter;
· Papa Carlo is shorter than Pinocchio because he is small;
· The kitten Woof meows loudly, and the cat meows quietly;
· The fairy tale “Kolobok” has a happy ending, but the fairy tale “Turnip” does not.
21. "Pantomime"
(for children from five years old)
Target:Formation of semantic fields, expansion of the dictionary of antonyms, development of general motor skills and creative abilities.
Sample speech material:
· evil wolf - good bear;
· stupid frog - smart rabbit;
· the swift deer is the slow turtle;
· brave lion cub - cowardly hare;
· strong tiger - weak mouse;
· fat hamster - thin heron;
· a joyful person is a sad person;
· straight tree - crooked tree;
· heavy bag - light snowflake;
· cold ice - hot fire.
22. "Correct the mistake"
(for children from five years old)
Target:Formation of semantic fields; consolidation of ideas about fairy-tale characters.
Content:An adult pronounces a sentence in which two objects (objects) are compared. The fallacy of the judgment is that in the first part of the sentence one sign of comparison is indicated, and in the second part - another (granddaughter is small, grandmother is old). The child needs to correct the mistake by offering two correct options for the judgment. For example: “The chalk is white, and the soot is liquid. The first part of the comparison talks about color, and the second part talks about hardness. It will be correct: the chalk is white and the soot is black, or the chalk is hard and the soot is soft.”
Sample speech material:
· the granddaughter is small, and the grandmother is old;
· Eeyore is big, and Winnie the Pooh is fat;
· The fox is cunning, and Kolobok is yellow;
· Gulliver is tall, and Thumbelina is small;
· The hare is gray, and the cockerel is bold;
· Winnie the Pooh loves honey, and Piglet is pink;
· Thumbelina is light, and the swallow is large;
· Pierrot has long sleeves, and Malvina has blue hair, etc.
Elena Alexandrovna Korneva
GDOU kindergarten No. 27 of the administrative district of St. Petersburg
teacher speech therapist
The spiritual life of a child is complete only when
when he lives in the world of games, fairy tales, music, fantasy.
Without this, he is a dried flower.
/V.A. Sukhomlinsky/
The topic of this work is “Fairy tale as a source of development of verbal creativity of older children preschool age” was not chosen by me by chance.
- Currently, the requirements of the educational system for the speech development of children have increased. By the time they leave preschool, children must achieve a certain level of speech development, since perception and reproduction educational materials, the ability to give detailed answers to questions, to independently express one’s thoughts - all these and other actions require a sufficient level of speech development.
- An analysis of the literature on this issue showed that, despite the variety of methodological developments for the development of verbal creativity in preschoolers, there is still not enough practical material.
- Children encounter fairy tales in books, cinema, theater, and on television. They forget about everything and immerse themselves in the lives of the heroes. They draw from them a lot of amazing knowledge: the first ideas about time and space, about the connection of man with nature, with the objective world; The fairy tales present brilliant examples of the native language - all this is necessary and favorable material for composing your own fairy tales.
In this regard, the issue of developing the verbal creativity of preschool children using various methods of composing fairy tales still does not lose its relevance.
Based on the above, goals and objectives were set for the development of verbal creativity of older preschoolers in the process of becoming familiar with Russian folk tales.
Goal of the work – to promote the development of verbal creativity in children of senior preschool age, corresponding to the age level of development of children, using various methods of composing fairy tales and an algorithm for composing fairy tales.
Educational objectives help children master a certain amount of knowledge, skills and abilities for their comprehensive development:
- Developing interest in artistic culture through familiarization with the Russian literary heritage, introducing children to Russian folk tales.
- Attracting children's attention to oral folk art through riddles, folk games, proverbs, sayings, etc.
- Studying natural phenomena, images of the animal and plant world. Development of research skills.
- Introducing children to Russian folk arts and crafts through the development of their various artistic and creative abilities.
- Development of monologue speech, the ability to speak coherently.
- Enriching children's vocabulary, instilling in them an interest in words, love for their native language and pride in its richness.
- Promoting the development of such mental processes as perception, imaginative thinking, creative imagination, memory.
- Development of acting abilities through the interpenetration of various types of art - music, literature, theater.
Educational tasks are aimed at developing the moral and spiritual qualities of children:
- Increasing the level of creativity (creative organization) of the process of education and training, their awareness and purposefulness.
- Admiration for the creativity of the Russian people; opportunities for children to understand that they are part of this great nation.
- Development of an emotionally positive attitude towards objects of aesthetic content.
- Developing a friendly attitude, a desire to communicate with each other, and the ability to behave in a group of peers.
- Developing the ability to respect the results of child labor.
- Formation of an emotionally positive attitude towards nature in every child.
- Developing in a child a sense of self-confidence, self-confidence, fulfillment of one’s capabilities, and perseverance in achieving goals.
- Development of the child’s creative potential, his artistic observation through the study of literary heritage.
On the basis of the preschool educational institution GDOU No. 27 in St. Petersburg, a system of pedagogical measures was developed and tested, including the creation of favorable conditions for the harmonious development of the child, the formation of a basic personality culture, aesthetic, moral and physical education of the child.
The nature of the work carried out made it possible to develop a series of lessons “The ABC of Fairy Tales”, mnemonic tables “Fairy Tales”, didactic games, select various methods of composing fairy tales and test this material, describing the optimal ways to develop verbal creativity of preschoolers in this work.
In our work we relied on the following principles:
- The principle of accessibility and integrity of the knowledge acquired by the child (selection of artistic material from various types of folk art: musical, artistic and speech, arts and crafts, subject to their close relationship).
- The principle of integrating work based on folk art with various directions educational work and types of children’s activities (familiarization with the outside world, speech development, various games, etc.).
- The principle of an individual approach to children; taking into account their individual preferences, inclinations, interests, and level of development.
- The principle of careful and respectful attitude towards children's creativity.
- The principle of systematicity and consistency, ensuring the interrelation of the studied concepts.
- The principle of visibility; preferential use of a model approach to learning, i.e. the possibility of representing concepts in the form of real and graphical models that provide visually effective and visually different character training.
- The principle of the strength of acquired knowledge.
- Educational nature of training.
It is known that teaching children creative storytelling is a gradual and quite complex process. It proceeds most successfully under the guidance of teachers and parents, who help them master these skills both in specially organized classes and in the process Everyday life. Older preschoolers have access to creative storytelling about events in their surrounding life, relationships with friends, topics from personal experience, and inventing stories and fairy tales. Therefore, the system of working with preschool children on the development of verbal creativity included:
- Acquaintance with the literary heritage of the Russian people, their creativity, since the special character traits of the Russian people have been preserved here: kindness, beauty, truth, courage, hard work... Oral folk art is the richest source of cognitive and moral development of children.
- Speech exercises (speech exercises). This included not only enriching the vocabulary of preschoolers and the accumulation of personal experience of each child, but also the development of articulatory motor skills, as well as the development of coherent, monologue speech and testing of non-standard methods of composing fairy tales, allowing the development of verbal creativity of preschoolers. Non-standard - this means teaching children to not only perceive the content in an original, unusual, in their own way, but also creatively transform the course of the story, for example, create free continuations, adaptations of fairy tales, come up with different beginnings and endings, introduce unforeseen situations, mix several plots into one and etc. An unconventional approach gives both the teacher and the child the opportunity to understand what is good and what is bad in a fairy tale or hero, to create a new situation where the hero would improve, good would triumph, evil would be punished, not cruelly, but humanely.
- Development of creative abilities through the creation of diverse images of living and inanimate nature through research, visual and gaming activities. It is extremely important not only to teach a child to compose, but also to show him new possibilities. Quite often, children were asked to depict something or someone from a fairy tale, but in a non-standard way, for example, to depict the fairy tale schematically, to show an episode of the text using body movements, gestures or facial expressions, etc.
- Development in theatrical activities (together with the musical director during the open events) by transforming into heroes of various fairy tales and cartoons.
At the first stage, work on the development of verbal creativity was aimed at activating the stock of knowledge of the most famous fairy tales. Along with listening to fairy tales, children became acquainted not only with author's fairy tales and Russian folk tales, but also with small forms of oral folklore (sayings, riddles, chants, counting rhymes, teasers, nursery rhymes, proverbs, sayings).
Until recently, it was believed that it was difficult for preschoolers to understand the figurative meaning of proverbs and sayings. However, studies by F. Sokhin and other authors have shown the inconsistency of this thesis. In order to help children understand the figurative meaning of small folklore, a fairy tale was selected where moral education was revealed with the help of an appropriate saying. For example, for the fairy tale “Teremok” “Rukavichka” the proverb was selected: “In cramped conditions, but do not be offended”, for the fairy tale “Zayushkina’s hut” the saying “Don’t have a hundred rubles, but have a hundred friends”, for the fairy tale “The Fox with a rolling pin” - “As you sow, so shall you reap,” etc. .
For a number of works of literary heritage, not only lexical, but also pictorial material was selected. For effective absorption sequence of events, taking into account the speech skills of children, methodological techniques were determined. Were manufactured reference diagrams - mnemonic tables, reflecting this or that fairy tale and containing black-and-white or color designation of the heroes of the fairy tale, their actions, objects and natural phenomena. These included “Turnip”, “Hen Ryaba”, “Kolobok”, “Teremok”, “Rukavichka”, “Mashenka and the Bear”, “Tops and Roots”, “Snow Maiden and the Fox”, “Fox with a rolling pin”, “Zayushkina’s Hut” ”, “Three bears”, “Winter hut of animals”, “Cockerel and bean seed”, “Visiting the sun”, “Fear has big eyes”, “Cat, rooster and fox”, “Wolf and seven kids”, “Fox - little sister and the gray wolf”, “Cockerel and the millstones”, “At the command of the pike”, “Geese-swans”, “Little Khavroshechka”.
This is not accidental, because the results of recent psychological and pedagogical research have shown that it is more useful for a preschooler to be offered not only illustrations, but it is also necessary to show various directions: abstract, comic, schematic, realistic, etc. All this material provides significant assistance in the development of children’s verbal creativity, because the clarity and clarity of their execution allows you to retain a large amount of information in memory and model the plot more flexibly.
The system of work also included a detailed analysis of fairy tales. Children learned to more deeply perceive traditional ways of constructing a fairy tale and organizing the plot in it. For this purpose they used “Scheme maps V.Ya. Proppa." The functions presented in the diagrams are generalized actions and concepts, which allows the author of a fairy tale to abstract from a specific act, character, situation in the future when composing his own narrative, thereby developing his creative thinking.
In conclusion of my work, I would like to note that thanks to the use of fairy tales - examples of literary and folk heritage, in the process of classes, children are instilled with a love for their native language and pride in its wealth, monologue speech is improved, interest in verbal creativity increases, independence in the selection of “figurative” means of the native language”, the ability to express one’s thoughts.
Fairy tales help enrich children’s knowledge about the world around them and influence moral education. Children learn to see the interconnection of different types of art. They develop acting and artistic abilities, creative imagination, logical memory; Children's activity, research skills, observation, curiosity and other abilities also develop. Thus, fairy tales are an excellent source of plots and examples for composing your own narrative.
Literature.
- Alekseeva M.M., Yashina V.I. Speech development of preschool children. – M.: “Academy”, 1998.
- Bolsheva T.V. Learning from a fairy tale: Development of thinking in preschoolers using mnemonics. – Educational and methodological manual. – SPb.: DETSTVO-PRESS, 2001.
- Korotkova E.P. Teaching preschool children storytelling. – M.: Education, 1982.
- Mikhailova A. Let's try to compose fairy tales. // Preschool education, 1993, No. 6.
- Propp V.Ya. Historical roots of fairy tales. – L-d, 1986.
- Rodari J. The Grammar of Fantasy: An Introduction to the Art of Inventing Stories. – M., 1978
- Fairy tale as a source of children's creativity. / Scientific hands Lebedev Yu.A. – Vlados, 2001.
- Tukhta L.S. Write a fairy tale. // Newspaper “Primary School”, 1996, No. 46.
- Fesyukova L.B. Education with a fairy tale: For working with preschool children. – Kharkov: Folio, 1996.
- Fesyukova L.B. From three to seven: Book. for dads, moms, grandparents. – Kharkov: Folio; Rostov n/d: Phoenix, 1997.
Development of imagination and verbal creativity in children of senior preschool age
MBDOU "Child Development Center - Kindergarten No. 178"
city of Cheboksary, Chuvash Republic
Verbal creativity is the most complex type of creative activity of a child. The opportunity to develop creative speech activity arises in older preschool age, when children have a fairly large stock of knowledge about the world around them, children master complex forms of coherent speech, a developed vocabulary, and they have the opportunity to act according to plan. Imagination, from previously reproductive, mechanically reproducing reality, turns into creative.
In older preschool age, the emotional and expressive function of speech becomes significantly enriched and complicated. The child learns the meaning of words expressing an emotional state, emotional attitude to objects and phenomena, learns the meaning of words associated with the experiences of emotions, understands the meaning of words denoting socially significant characteristics of a person. At this age, the child’s assimilation of words occurs with a deeper and clearer distinction between signs, objects and phenomena.
One of the manifestations of creative imagination is children's verbal creativity. There are two types of word creation.
Firstly, these are the so-called new formations in inflection and word formation (children's neologisms). Secondly, this writing is an integral component of artistic and speech activity.
We all know that children love to compose fairy tales, stories, poems, and fantasize, and there is a tendency toward “obvious absurdities” and “reversals.” In “reversals” and fables, the child, through imagination, “breaks” the connections between objects and phenomena, their constant signs, “steps back” from them, and then connects them into new combinations, “enters” the depicted circumstances, selects speech means to construct a coherent statement.. In this way, stereotypically formed associations are “shattered”, thinking and imagination are activated. In a word, verbal creativity is understood as the productive activity of children, which arose under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - fairy tales, short stories, poems, fables, rhymes, etc.
With the help of verbal creativity, the child experiments with words and sentences, tries to change something, come up with something - in a word, create. He is interested in this activity, as it allows him to more fully understand his capabilities and replenish his luggage with something new. Verbal creativity enriches and develops thought, making it more logical and imaginative. A feeling of joy and satisfaction from what has been achieved, emotional tension makes oneself attractive creative process. Children's word creation is the most complex type of creative activity of a child.
According to many scientists, verbal creativity of older preschoolers can be developed taking into account the following factors:
One of the factors influencing the development of verbal creativity is the enrichment of children’s experience with impressions from life in the process of targeted observation of surrounding reality. Observing the work of adults, natural phenomena, can take different forms: watching movies, looking at paintings, albums, illustrations in books and magazines, etc. (In the process of observing nature, we note the aesthetic side, highlight the beauty of the natural world, note the colors. It would be good if, at the same time, we introduce how authors describe nature in their works, what expressions and words they use).
A significant factor is the enrichment of literary experience, reading various books, especially educational ones, which enrich children with new knowledge and ideas about the work of people, the behavior and actions of children and adults, this deepens moral feelings and provides excellent examples literary language. Works of oral folk art contain many artistic techniques (allegory, dialogue, repetition, personification), and attract attention with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
To others an important condition Successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary through definition words;
words that help describe experiences, character traits of characters.
For example, observing a winter landscape, children, with the help of a teacher, give various definitions of the qualities and conditions of snow: white, like cotton wool; slightly bluish undertree; sparkles, shimmers, sparkles, shines; fluffy, falls in flakes.
Then these words are used in children's stories (“It was in winter, in the last month of winter, in February. When the last time snow fell - white, fluffy - and everything fell on the roofs, on the trees, on the children, in large white flakes”).
Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist). The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or fairy tale.
Development of a poetic ear, the ability to distinguish genres, understand their features, the ability to feel the components of an artistic form and to realize their functional connection with the content.
To develop verbal creativity, it is effective to use techniques that stimulate creativity, imagination and interest in children:
· coming up with the ending of a fairy tale started by the teacher, its beginning or middle,
· an essay using a subject-schematic model, a picture (this is a little more difficult, because the child must follow a certain algorithm).
· an essay on the topic using supporting words-mnemonic tables.
· creative storytelling based on a literary model - with the replacement of characters, the scene of action, or with the invention of a new plot with the same characters, and others.
Using didactic games to develop fantasy and imagination (“Funny rhymes.” Choose a rhyme: Candle - ... stove; pipes - ... lips; racket - ... pipette; boots - pies, etc. “Make the object come to life.” This game involves making objects inanimate the nature of the abilities and qualities of living beings, namely: the ability to move, think, feel, breathe, grow, rejoice, reproduce, joke, smile.
What living creature would you turn a balloon into?
What are your shoes thinking?
What does furniture think about?
· “collage from fairy tales.” Any heroes of fairy tales (Vasilisa the Beautiful, Baba Yaga, Serpent Gorynych and Little Thumb) are selected to independently compose a fairy tale (you can use any magical means in the fairy tale, leading questions to combine fragmentary episodes into a single composition.)
· compose a fairy tale about an unusual creature. (A butterfly that had transparent wings, but she wanted to have colorful wings like her friends).
· use of proverbs, sayings (Until recently, it was believed that it was difficult for preschoolers to understand the figurative meaning of proverbs and sayings. However, research has shown the inconsistency of this thesis. In order to help children understand the figurative meaning of small folklore, a fairy tale was selected, where moral education was revealed with the help of an appropriate saying For example, for the fairy tale “Teremok” “Rukavichka” the proverb was chosen: “In cramped conditions, but do not be offended”, for the fairy tale “Zayushkina’s Hut” the saying “Don’t have a hundred rubles, but have a hundred friends”).
Thus, the development of verbal creativity is a complex and dependent process that appears in direct connection with the development of mental processes, requiring the active work of imagination, thinking, speech, observation, volitional efforts, participation of positive emotions.
People say: “Without imagination there is no consideration.”
Albert Einstein considered the ability to imagine superior to knowledge, because he believed that without imagination, discoveries cannot be made. A well-developed, bold, controlled imagination is an invaluable characteristic of original, out-of-the-box thinking.
Children subconsciously learn to think - through play. We must take advantage of this and develop imagination and fantasy from the very beginning. early childhood. Let children “invent their own bicycles.” Anyone who did not invent bicycles as a child will not be able to invent anything at all. It should be interesting to fantasize! Remember that play is always immeasurably more productive if we use it to put the child in pleasant situations that allow him to perform heroic deeds and, while listening to a fairy tale, see his future as fulfilling and promising. Then, while enjoying the game, the child will quickly master the ability to fantasize, and then the ability to imagine, and then to think rationally.
Verbal creativity is an effective means of developing a creative personality.
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 preschoolers 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 the 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 your 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 little cow" (wolf). “Clubfooted, loves honey, can lift a 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 painted 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.” sunflower!”.
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 as different characters. 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 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. A prerequisite is to conduct 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, to experience imaginary situations together with the teacher, 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 a letter I in the alphabet, and it was a very beautiful letter. 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 the fun game! 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 right 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
Development grammatical structure 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 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 parts. 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 pronounce as many complex sentences as you would not hear from them even in very cognitively intensive 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 ...
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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 children of senior 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 a complex type of activity and there are different trends regarding the nature of the emergence of children's creativity.
In some cases, creativity is considered as a result of the child’s internal emerging powers. The development of creativity comes down to a spontaneous moment. With this view, there is no need to teach children to draw and sculpt; they themselves strive for self-expression and freedom, creating compositions from strokes and spots. Supporters of this trend do not interfere in the process of developing a child’s artistic abilities.
In other cases, the source of children's creativity is sought in life itself, in appropriate pedagogical conditions, which are a guarantee of an active influence on the development of children's creativity. Supporters of this view believe that abilities are formed gradually, in the process of active activity of children, taking into account individual characteristics child. coherent speech verbal fairy tale creativity preschooler
Verbal creativity is part of the general development of creative abilities of preschoolers in various types of artistic activities:
Its formation is based on the perception of works of fiction and oral folk art in the unity of content and artistic form;
Familiarization with different genres of literary works, their specific features, the understanding of which is enhanced in 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) focused their efforts on studying the nature of children’s creative manifestations in literary activity, as well as in search of ways to develop the child’s creative abilities. These studies have shown that the development of artistic creativity is closely related to the development of cognitive and personal characteristics of a 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 developing literate oral speech in children and cultivating interest in independent verbal creativity.
Organization of the study
The final certification work consists of an introduction, two chapters, a conclusion, and a list of references.
CHAPTERI. THEORETICAL FOUNDATIONS OF FORMATION OF VERBAL CREATIVITY IN SENIOR PRESCHOOL CHILDREN IN PSYCHOLOGICAL AND PEDAGOGICAL LITERATURE
1.1 The concept of creativity, children's verbal creativity and the study of problems of its formation by psychologists and teachers
An adult, raising a child, must subtly and tactfully support the child's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the learning of creativity, since creativity itself can only develop in individual individuals.
Issues of creativity, its development and manifestation in humans have worried the minds of outstanding people for many years in the formation of human history.
Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore it is so important, according to Aristotle, to teach children creativity, the ability to observe and understand people and their experiences from an early age. Proving that the imprint of the creator’s personality lies on his works, Aristotle not only gave examples of how different artists interpret the same subjects differently, but also proved the need to develop independence, activity and individuality when raising children, because otherwise, they will never become outstanding scientists and creators.
The nature of creativity is studied by philosophers, psychologists and teachers who study certain aspects of creative thinking and personality, based on the specifics of their sciences.
Thus, the philosophical dictionary gives the following definition of creativity: “Creativity is a process of human activity that creates qualitatively new material and spiritual values.” In philosophy, creativity is a person’s ability, arising through work, to create from the material provided by reality (based on the knowledge of the laws of the objective world) a new reality that satisfies diverse social needs. In the process of creativity, all the spiritual powers of a person take part, including imagination, as well as the mastery acquired in training and practice, necessary for the implementation of a creative plan.
IN pedagogical science creativity is defined as “an activity aimed at creating a socially significant product that has an impact on the transformation of the environment.”
The significance of a child’s creativity is limited to creating something new for himself, and this determines the significance of creativity for the formation of personality.
Characterizing the creativity of children, the famous didact I.Ya. Lerner identified the following features 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 program of behavior in cases where the problem situation is characterized by uncertainty.
Imagination, or fantasy, is one of the highest cognitive processes in which the specific human nature of activity is clearly revealed. Imagination allows you to imagine the result of a person’s work even before it begins.
Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections.
When characterizing imagination from the perspective of its mechanisms, it is necessary to emphasize that its essence is the process of transforming ideas, creating new images based on existing ones.
The synthesis of ideas in the processes of imagination is carried out in various forms:
§ agglutination - “gluing” of various parts, qualities;
§ hyperbolization - increasing or decreasing an object and changing the number of parts of an object or their displacement;
§ sharpening, emphasizing any features;
§ schematization - the ideas from which the fantasy image is constructed merge, differences are smoothed out, and similarities come to the fore;
§ typification - highlighting the essential, repeated in homogeneous facts and embodying them in a specific image.
In psychology, it is customary to distinguish between active and passive imagination. In the case when fantasy creates images that are not realized, outlines behavioral 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 weakens, the second signaling system, during temporary inactivity of a person, in a half-asleep state, in a state of passion, in sleep (dreams), in pathological disorders of consciousness (hallucinations), etc.
Active imagination can be creative and re-creative. Imagination, which is based on the creation of images that correspond to the description, is called recreating. Creative imagination involves the independent creation of new images, which are realized in original and valuable products of activity. The creative imagination that arises in work remains an integral part of technical, artistic and any other creativity, taking the form of active and purposeful operation of visual ideas in search of ways to satisfy needs.
In order to understand the psychological mechanism of imagination and related creative activity, it is necessary to clarify the connection that exists between fantasy and reality in human behavior. L.S. Vygotsky in his work “Imagination and Creativity in Childhood” identifies 4 forms of connection between imagination and reality.
The first form is that every creation of the imagination is always built from elements taken from reality and contained in man's previous experience. Imagination can create more and more degrees of combination, first combining the primary elements of reality, then secondarily combining fantasy images (mermaid, goblin, etc.). Here we can highlight the following pattern: “the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience is the material from which fantasy structures are created.”
The second form is 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 the rapid development of role-playing games, drawing, and design. But without special guidance, it is mainly of a reproducing nature.
Stage III - 6-7 years. The child operates freely with basic patterns of behavior and activity.
Active imagination is also aimed at overcoming the received psycho-traumatic effects by repeatedly varying them in 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, which allows 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 possibilities. K.I. Chukovsky in his book “From Two to Five” spoke about children’s imagination in its verbal manifestation. He very accurately noted the age (from two to five) when a child’s creativity is especially sparkling. Insufficient 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 - achieving the goal. In artistic creative activity, the idea by its very essence is the formulation of a creative task. Literary ideas, despite all their differences, are formulated in other types of activity. It's about the task of writing a work of fiction. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through one's work.
It should be noted that children are completely sincerely involved in literary works and live in this imaginary world. A child’s verbal creativity opens up richer opportunities for understanding the world and conveying his impressions, limiting the child’s actions to any technical techniques.
Issues of the formation of children's verbal creativity were studied by E.I. Tikheyeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole: it requires the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.
Verbal creativity is the most complex type of creative activity of a child. There is an element of creativity in everything children's story. Therefore the term " creative stories" is a conventional name for stories that children come up with themselves. The peculiarities of creative storytelling are that the child must independently come up with content (plot, imaginary characters), based on the topic and his past experience, and put it into the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. An equally difficult task is to convey your idea accurately, expressively and entertainingly. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from existing knowledge, introduce an element of fantasy into them and compose a creative story.
The basis of verbal creativity, notes O.S. Ushakov, lies in the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. She views creativity verbally as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems. The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.
Children's verbal creativity is expressed in various forms: in writing stories, fairy tales, descriptions; in writing poems, riddles, fables; in word creation (creation of new words - new formations).
For the methodology of teaching creative storytelling, understanding the peculiarities of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process is of particular importance. ON THE. Vetlugina noted the legitimacy of extending the concept of “creativity” to the activities of a child, delimiting it with the word “children’s.” She identified three stages in the formation of children's artistic creativity.
At the first stage, experience is accumulated. The role of the teacher is to organize life observations that influence children's creativity. The child must be taught to visualize the surroundings (perception acquires an aesthetic coloring). Art plays a special role in enriching perception. Works of art help a child to feel more keenly the beauty in life and contribute to the emergence of artistic images in his creativity.
The second stage is the actual process of children's creativity, when 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 an attitude towards new activity(let's make up a story). The presence of a plan encourages children to search for means of its implementation: searching for composition, highlighting the actions of heroes, choosing words 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 can have a different nature depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books.
Reading books, especially educational ones, enriches children with new knowledge and ideas about the work of people, the behavior and actions of children and adults, aggravates moral feelings, and provides excellent examples of literary language. Works of oral creativity contain many artistic techniques (allegory, dialogue, repetition, personification), and attract attention with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of vocabulary. Children need to replenish and activate their vocabulary through definition words; words that help describe experiences, character traits of characters. Therefore, the process of enriching children’s experience is closely related to the formation of new concepts, new vocabulary and the ability to use the existing vocabulary.
3. Creative storytelling is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, master the structure of a coherent statement, and know the composition of the narrative and description.
Children learn these skills at previous age stages by reproducing literary texts, writing descriptions of toys and paintings, and inventing stories based on them. Particularly close to verbal creativity are stories about one toy, inventing the end and beginning of the episode depicted in the picture.
4. Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist).
The theme of creative stories should be related to common tasks education of children correct attitude to the surrounding life, fostering respect for elders, love for younger ones, friendship and camaraderie. The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or fairy tale.
In the methodology of speech development, there is no strict classification of creative stories, but the following types can be roughly distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with a literary image (two options: replacing heroes while preserving the plot; changing the plot while preserving the heroes). Most often, children create contaminated texts because it is difficult for them to give a description without including an action, and the description is combined with the plot action.
Techniques for teaching creative storytelling depend on the children’s skills, learning objectives, and type of story.
IN senior group As a preparatory stage, you can use the simplest technique of telling children together with the teacher about the issues. A topic is proposed, questions are asked, to which the children come up with an answer as they pose them. At the end, a story is compiled from the best answers. Essentially, the teacher “composes” together with the children.
IN preparatory school group, the tasks of teaching creative storytelling become more complicated (the ability to clearly build storyline, use communication tools, be aware 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 active leadership creative storytelling, which makes it easier for the child to solve a creative problem and influences the coherence and expressiveness of speech.
A plan in the form of questions helps to focus children's attention on the consistency and completeness of the development of the plot. For a plan, it is advisable to use 3-4 questions; a larger number of them leads to excessive detail of actions and descriptions. What can hinder the independence of a child’s plan? During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story.
A more complex technique is storytelling based on the plot proposed by the teacher. (The teacher set a learning task for the children. He motivated it, suggested a theme, a plot, named the main characters. The children must come up with content, formalize it verbally in the form of a narrative, and arrange it in a certain sequence).
Coming up with a story on an independently developed topic is the most difficult task. The use of this technique is possible if children have basic knowledge about the structure of the narrative and means of intratextual communication, as well as the ability to title their story. The teacher advises what a story can be written about, invites the child to come up with a name for the future story and draw up a plan.
Learning the ability to invent fairy tales begins with introducing elements of fantasy into realistic plots.
At first, it is better to limit fairy tales to stories about animals: “What Happened to the Hedgehog in the Forest,” “The Adventures of the Wolf,” “The Wolf and the Hare.” It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But a certain level of knowledge about the habits of animals and their appearance is required. Therefore, learning the ability to invent fairy tales about animals is accompanied by looking at toys, paintings, and watching filmstrips.
Reading and storytelling to children short stories, fairy tales help to draw attention to the form and structure of the work, to emphasize the interesting fact revealed in it. This has a positive effect on the quality of children's stories and fairy tales.
The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, the stock of well-known fairy tales is activated in the speech activity of preschoolers in order to assimilate their content, images and plots. At the second stage, under the guidance of the teacher, an analysis of the scheme for constructing a fairy tale narrative and plot development (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writing. 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 a fairy tale narrative 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 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 situational situations and from the pressure of the objective environment. Unlike any other signal or any vocalization, a word is a sign that always carries a universal meaning, including not just a specific object, but a thought, image, concept. By mastering language, a child masters a sign system, which becomes a powerful tool for thinking, self-control and, above all, communication.
The close connection between the speech and intellectual development of children is especially clear in the formation of coherent speech, that is, speech that is meaningful, logical, and consistent.
Coherent speech is understood as a detailed presentation of certain content, which is carried out logically, consistently and accurately, grammatically correct and figuratively.
In the methodology, the term “coherent speech” is used in several meanings:
1. Process, activity of the speaker;
2. Product, the result of this activity, text, statement;
3. Title of the section of work on speech development.
Additionally, the terms “statement” and “text” are used synonymously.
An utterance is a speech activity, and the result of this activity: a certain speech work, more than a proposal. 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 utterance that lasts a relatively long time and is not designed for an immediate reaction from listeners. It has an incomparably more complex structure and expresses the thought of one person, which is unknown to the listeners. The statement contains a more complete formulation of information, it is more detailed. A monologue requires internal preparation, longer preliminary thinking about the statement, and concentration of thought on the main thing. A monologue is characterized by: literary vocabulary, detailed utterance, completeness, logical completeness, syntactic structure, 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.
Narration is coherent story about some events. Its basis is a plot unfolding over time. Narration serves to tell the story of developing actions. The material in it is presented on the basis of those semantic connections that are prompted by the life situation. The sequence of events is determined by their actual course. In narrative monologues, means are used to convey the development of action: tense verb forms; vocabulary denoting time, place, manner of action; words to connect sentences.
Preschool children compose stories on a visual basis and without relying on visuals.
Reasoning is a logical presentation of material in the form of evidence. The reasoning contains an explanation of a fact, argues a certain point of view, and reveals the cause-and-effect relationships of the relationship. In reasoning, two main parts are required: the first is what is explained or proven; the second is the explanation or proof itself. Its structure includes a thesis (usually the initial sentence), evidence of the thesis put forward, and a conclusion. The reasoning uses various ways expressions of cause-and-effect relationships, subordinate clauses with the conjunction “because”, verb phrases, nouns in genitive case with the prepositions “from, with, because of”, introductory words, the particle “after all” and non-union connection, as well as words: here, for example.
Preschool children master the 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 the perception of visual material and identify the characteristic features of objects and phenomena. Often the description also includes a story about completed or possible actions with a toy or object, about how these things appeared in the child. In narrative monologues, children convey a certain plot, suggested by a picture, a ready-made play situation created with the help of toys, and also come up with a story based on the picture, going beyond what is shown in the picture, or on toys (one or more). In telling stories from toys and pictures, children learn to select subject-logical content for descriptions and narratives, acquire the skills to build a composition, connect parts into a single text, and selectively use linguistic means.
Storytelling from experience is based on ideas gained through observations, as well as various types of activities, and reflects the child’s experiences and feelings. In monologues, the skills of narration, description, and reasoning are formed from collective and individual experience.
Creative stories are stories about fictional events. In the methodology, creative storytelling is understood as an activity that results in children inventing fairy tales, realistic stories with independently created images, situations, logically constructed, expressed in a certain verbal form. A realistic story reflects objects and phenomena that exist in nature, although they have not been encountered in the child’s personal experience. Fairy tales most often define themselves as a reflection of the artistic experience accumulated by children in the perception and retelling of folk and literary fairy tales. Children can also make up fables. Creative essays can be not only narrative, but also descriptive.
Depending on the leading mental process on which the “children’s” story is based, the story can be:
1. Narration based on visual, tactile or auditory perception is descriptive in nature and leads the child to reasoning. Children talk about those objects or phenomena that they perceive in 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 selection of appropriate linguistic means. This type of storytelling includes descriptions of toys, paintings, natural objects, and natural phenomena. In storytelling through perception, it ensures the unity of sensory, mental and speech development.
2. Telling from memory is telling from experience, about what was experienced and perceived earlier. This is a more complex activity than perceptual storytelling. It relies on voluntary memory.
3. Imaginative storytelling is children's creative stories. From a psychological point of view, the basis of creative stories is creative imagination. In new combinations, children use ideas stored in memory and previously acquired knowledge.
Any coherent monologue utterance is characterized by a number of features:
1) Integrity (unity of theme, correspondence of all micro-themes to the main idea);
2) Structural design (beginning, middle, end);
3) Coherence (logical connections between sentences and parts of the monologue);
4) Volume of utterance;
5) Smoothness (no long pauses in the storytelling process).
To achieve coherence in speech, a number of skills are required, namely: the ability to understand and comprehend the topic, determine its boundaries; select the necessary material; arrange the material in the required sequence; use the means of language in accordance with literary norms and the objectives of the statement; construct speech deliberately and arbitrarily.
1.3 Fabulousgenre -as a factor in the development of children's verbal creativity
Verbal creativity is a two-pronged process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form.
One of the factors determining the development of children's verbal creativity should be recognized as the influence of folklore.
For centuries, Bashkir folklore has played and continues to play a big role 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 of “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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