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• Introduction
• Conclusion
• Appendix 1

Introduction

One of the main causes of problems in modern society is the low level of culture of its members. An important part general culture is a culture of behavior. Norms of behavior determine what is generally accepted and acceptable in the actions of a member of society, and what is not. Uniform and generally accepted rules ensure a high level of relationships and communication in society.

Behavioral culture is an important part universal human culture, morality, morality. Therefore, it is so important to teach a child to distinguish between good and evil everywhere and in everything, to respect others and treat them the way he would like to be treated, to instill in the child a sense of justice. By instilling cultural behavior skills in a child, we contribute to the development of society. Research by V.I. Loginova, M.A. Samorukova, L.F Ostrovskaya, S.V. Peterina, L.M. Gurovich show that one of the most effective means of instilling a culture of behavior in children of senior preschool age is fiction. Fiction influences the child’s feelings and mind, develops his sensitivity, emotionality, consciousness and self-awareness, shapes his worldview, and motivates behavior.

In psychology, perception fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation. E.A. Fleurina called characteristic feature such perception is the unity of “feeling” and “thinking”.

In poetic images, fiction reveals and explains to the child the life of society and nature, the world of human feelings and relationships. It enriches emotions, fosters imagination, and gives the child excellent examples of Russian language. literary language.

Fiction arouses interest in the personality and inner world of the hero. Having learned to empathize with the heroes of the works, children begin to notice the mood of the people around them. Humane feelings are awakened in children - the ability to show participation, kindness, and protest against injustice. This is the basis on which integrity, honesty, and citizenship are brought up. The child’s feelings develop in the process of mastering the language of those works with which the teacher introduces him.

Artistic word helps to understand the beauty of native speech, it teaches him an aesthetic perception of the environment and at the same time forms his ethical (moral) ideas. According to V.A. Sukhomlinsky, reading books is the path along which a skillful, intelligent, thinking teacher finds the way to a child’s heart.

The educational function of literature is carried out in a special way, inherent only to art - by the force of influence of the artistic image. According to Zaporozhets A.V., aesthetic perception of reality is a complex mental activity, combining both intellectual and emotional-volitional motives. Learning to perceive a work of art in psychology and pedagogy is considered as an active volitional process with an imaginary transference of events to oneself, a “mental” action with the effect of personal participation.

The relevance of the research topic is determined by the fact that fiction is a powerful, effective means of mental, moral and aesthetic education of children, which has a huge impact on the development and enrichment of their inner world.

fiction preschool perception

Purpose of the study: to identify the characteristics of children’s perception of fiction.

The object of the study is the perception of preschool children.

The subject of the study is the peculiarities of perception of fiction by preschool children.

The hypothesis of the study was the assumption that the perception of fiction can influence the cultural behavior of children when selecting works, taking into account the content of the work and the age-related psychological characteristics of preschoolers.

Research objectives:

1. Select and study scientific psychological and pedagogical literature on the problem under consideration.

2. Analyze the main characteristics of children’s perception and the characteristics of preschool children’s perception of works of art.

3. Conduct an experimental study of the characteristics of preschool children’s perception of fiction.

Research methods: theoretical analysis of psychological, pedagogical and specialized literature; methods of observation and comparison, quantitative and qualitative processing of collected materials.

The methodological basis for the study was the works

L.S. Vygotsky, S.L. Rubinshteina, B.M. Teplova, A.V. Zaporozhets, O.I. Nikiforova, E.A. Flerina, N.S. Karpinskaya, L.M. Gurovich and other scientists.

Practical significance: the results obtained can be used in the work of practical psychologists, educators and parents of children when solving problems of forming the personality of a preschooler.

Research base: MBDOU "Child Development Center kindergarten No. 1 "Rucheyok" Anapa.

Structure of the work: the work consists of an introduction, two chapters, a conclusion, and a list of references from 22 sources.

Chapter 1. Dynamics of perception during preschool childhood

1.1 Perception of preschool children

Perception is a holistic reflection of objects, phenomena, situations and events in their sensually accessible temporal and spatial connections and relationships; the process of forming - through active actions - a subjective image of a holistic object that directly affects the analyzers. Determined by the objectivity of the world of phenomena. Occurs when physical stimuli directly affect the receptor surfaces of the sense organs. Together with the processes of sensation, it provides direct sensory orientation in outside world. Being a necessary stage of cognition, it is always to some extent connected with thinking, memory, and attention.

Elementary forms of perception begin to develop very early, in the first months of a child’s life, as he develops conditioned reflexes to complex stimuli. The differentiation of complex stimuli in children of the first years of life is still very imperfect and differs significantly from the differentiation that occurs at an older age. This is explained by the fact that in children the processes of excitation predominate over inhibition. At the same time, there is a great instability of both processes, their wide irradiation and, as a consequence of this, the inaccuracy and instability of differentiation. Children of preschool and primary school age are characterized by low detail of perceptions and their high emotional intensity. A small child primarily identifies shiny and moving objects, unusual sounds and smells, i.e. everything that causes his emotional and indicative reactions. Due to insufficient experience, he cannot yet distinguish the main and essential features of objects from the secondary ones. The conditioned reflex connections necessary for this arise only as the child interacts with objects during play and activities.

Direct connection between perceptions and actions - characteristic feature and a necessary condition for the development of perception in children. Seeing a new object, the child reaches out to it, takes it in his hands and, manipulating it, gradually identifies its individual properties and aspects. Hence the enormous importance of a child’s actions with objects for the formation of a correct and increasingly detailed perception of them. Great difficulty for children is the perception of the spatial properties of objects. The connection between visual, kinesthetic and tactile sensations necessary for their perception is formed in children as they become practically familiar with the size and shape of objects and operate with them, and the ability to distinguish distances develops when the child begins to walk independently and move over more or less significant distances. Due to insufficient practice, visual-motor connections in children younger age still imperfect. Hence the inaccuracy of their linear and depth gauges. If an adult estimates the length of lines with an accuracy of 1/100 of the length, then children 2-4 years old - with an accuracy of not exceeding 1/20 of the length. Children especially often make mistakes about the size of distant objects, and the perception of perspective in a drawing is achieved only at the end of preschool age and often requires special exercises. Abstract geometric shapes (circle, square, triangle) are associated in the perception of preschoolers with the shape of certain objects (children often call a triangle a “house,” a circle a “wheel,” etc.); and only later, when they learn the name of geometric figures, do they develop a general idea of ​​this form and correctly distinguish it, regardless of other characteristics of objects. Even more difficult for a child is the perception of time. In children 2-2.5 years old it is still quite vague and undifferentiated. Correct use by children of such concepts as “yesterday”, “tomorrow”, “earlier”, “later”, etc. in most cases it is observed only for about 4 years; The duration of individual periods of time (an hour, half an hour, 5-10 minutes) is often confused by six- and seven-year-old children.

Significant changes in the development of perception in a child occur under the influence of verbal communication with adults. Adults introduce the child to surrounding objects, help to highlight their most important and characteristic aspects, teach them how to operate with them, and answer numerous questions regarding these objects. Learning the names of objects and their individual parts, children learn to generalize and differentiate objects according to the most important features. IN to a large extent children's perceptions depend on their previous experiences. The more often a child encounters various objects, the more he learns about them, the more fully he can perceive and in the future more correctly reflect the connections and relationships between them.

The incompleteness of children's experience, in particular, explains the fact that when perceiving little-known things or drawings, young children are often limited to listing and describing individual objects or their parts and find it difficult to explain their meaning as a whole. Psychologists Binet, Stern and some others, who noticed this fact, drew from it the wrong conclusion about the existence of strict standards age characteristics perception regardless of the content of what is perceived. This is, for example, Binet’s scheme, which establishes three age stages for children’s perception of pictures: from 3 to 7 years old - the stage of listing individual objects, from 7 to 12 years old - the stage of description and from 12 years old - the stage of explanation or interpretation. The artificiality of such schemes is easily revealed if children are presented with pictures with close, familiar content. In this case, even three-year-old children are not limited to simply listing items, but give more or less coherent story, even with an admixture of fictitious, fantastic explanations (S. Rubinstein and Hovsepyan). Thus, the qualitative originality of the content of children's perception is caused, first of all, by the limitations of children's experience, the insufficiency of systems of temporary connections formed in past experience, and the inaccuracy of previously developed differentiations. The patterns of formation of conditioned reflex connections also explain the close connection of children's perception with the actions and movements of the child.

The first years of children's lives are the period of development of basic inter-analyzer conditioned reflex connections (for example, visual-motor, visual-tactile, etc.), the formation of which requires direct movements and actions with objects. At this age, children, while looking at objects, at the same time feel and touch them. Later, when these connections become stronger and differentiated, direct actions with objects are less necessary, and visual perception becomes a relatively independent process in which the motor component participates in a latent form (mainly eye movements are produced). Both of these stages are always observed, but they cannot be associated with a strictly defined age, since they depend on the living conditions, upbringing and education of the child.

Important for the development of perception and observation in preschool and junior school age has a game. In the game, children differentiate the various properties of objects - their color, shape, size, weight, and since all this is associated with the actions and movements of children, the game thereby creates favorable conditions for the interaction of various analyzers and for the creation of a multifaceted understanding of objects. Drawing and modeling are of great importance for the development of perception and observation, during which children learn to correctly convey the contours of objects, distinguish shades of colors, etc. In the process of playing, drawing and performing other tasks, children learn to independently observe, compare, and evaluate size, shape, and color. Thus, already in older preschool age, perception becomes more organized and controllable. In the process of schoolwork, in order to develop perception, careful comparisons of objects, their individual aspects, and an indication of the similarities and differences between them are necessary. The independent actions of students with objects and the participation of various analyzers (in particular, not only vision and hearing, but also touch) are of utmost importance. Active, purposeful actions with objects, consistency and systematicity in the accumulation of facts, their careful analysis and generalization - these are the basic requirements for observation, which must be strictly observed by students and teachers. Particular care must be taken to ensure the correctness of observations. At first, schoolchildren’s observations may not be detailed enough (which is natural when first becoming familiar with an object or phenomenon), but observations should never be replaced by distortion of facts and their arbitrary interpretation.

1.2 Perception of fiction by preschool children

The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation.

The perception of fiction by preschool children is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. The child enters into the depicted circumstances, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity extremely expands the sphere of a child’s spiritual life and is important for his mental and moral development. Listening to works of art along with creative games is of utmost importance for the formation of this new type of internal mental activity, without which no activity is possible. creative activity. A clear plot and a dramatized depiction of events help the child to enter into the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.

At one time S.Ya. Marshak wrote in “Great Literature for Little Ones”: “If the book has a clear unfinished plot, if the author is not an indifferent recorder of events, but a supporter of some of his heroes and an opponent of others, if the book has a rhythmic movement, and not a dry, rational sequence, if the conclusion from the book is not a free addition, but a natural consequence of the entire course of facts, and besides all this, the book can be acted out like a play, or turned into an endless epic, inventing new and new continuations for it, this means that the book is written in real children's language language"

L.S. Slavina showed that with appropriate pedagogical work, it is already possible to arouse interest in the fate of the hero of the story in a pre-preschooler, force the child to follow the course of events and experience feelings that are new to him. In a preschooler one can observe only the beginnings of such assistance and empathy for the characters of a work of art. The perception of a work takes on more complex forms in preschoolers. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts with him, fights his enemies. The activities carried out in this case, especially at the beginning of preschool age, are very close in psychological nature to play. But if in a game the child actually acts in imaginary circumstances, then here both the actions and the circumstances are imaginary.

During preschool age, the development of an attitude towards a work of art goes from the child’s direct naive participation in the depicted events to more complex forms of aesthetic perception, which, for a correct assessment of a phenomenon, require the ability to take a position outside them, looking at them as if from the outside.

So, the preschooler is not egocentric in perceiving a work of art. Gradually, he learns to take the position of a hero, mentally support him, rejoice at his successes and be upset by his failures. The formation of this internal activity in preschool age allows the child not only to understand phenomena that he does not directly perceive, but also to relate from the outside to events in which he did not directly participate, which is crucial for subsequent mental development.

1.3 Peculiarities of perception of fairy tales by preschool children

Speaking about the influence of various types of oral folk art on human life in general, one cannot fail to note their special role that they play in childhood. It is especially necessary to say about the influence of the fairy tale.

To understand the complex and influential role of fairy tales in the aesthetic development of children, it is necessary to understand the uniqueness of children's worldview, which we can characterize as children's mythology, which brings children closer to primitive man and artists. For children, for primitive man, for a real artist, all nature is alive, full of inner rich life - and this feeling of life in nature has, of course, nothing far-fetched, theoretical, but is directly intuition, a living, convincing education. This feeling of life in nature increasingly needs intellectual design - and fairy tales precisely meet this need of the child. There is another root of fairy tales - this is the work of children's fantasy: being an organ of the emotional sphere, fantasy seeks images to express children's feelings in them, that is, through the study of children's fantasies we can penetrate into the closed world of children's feelings.

Fairy tales play a big role in terms of the harmonious development of personality. What is harmonious development? Harmony is a consistent relationship between all parts of the whole, their interpenetration and mutual transitions. Strengths the child’s personality is, as it were, pulled up by the weak, raising them to higher levels, forcing the entire complex system - the human personality - to function more harmoniously and holistically. People's moral ideas and judgments do not always correspond to their moral feelings and actions. Therefore, it is not enough just to know, to understand with one’s head what it means to be moral, and also to only speak out in favor of moral actions, you need to educate yourself and your child in such a way that you want and be able to be one, and this is already the area of ​​​​feelings, experiences, emotions.

Fairy tales help develop responsiveness and kindness in a child, and make the child’s emotional and moral development controlled and purposeful. Why fairy tales? Yes, because art and literature are the richest source and stimulator of feelings, experiences, and precisely the highest feelings, specifically human (moral, intellectual, aesthetic). A fairy tale for a child is not just fiction, fantasy, it is a special reality, the reality of the world of feelings. A fairy tale expands the boundaries for a child ordinary life, only in a fairy tale form do preschoolers encounter such complex phenomena and feelings as life and death, love and hatred, anger and compassion, betrayal and deceit, and the like. The form of depiction of these phenomena is special, fabulous, understandable to a child, and the height of the manifestations, the moral meaning, remain genuine, “adults”.

Therefore, the lessons that the fairy tale gives are lifelong lessons for both children and adults. For children, these are incomparable moral lessons; for adults, these are lessons in which the fairy tale reveals its, sometimes unexpected, impact on the child.

Listening to fairy tales, children deeply sympathize with the characters, they have an internal impulse to assist, to help, to protect, but these emotions quickly fade away, since there are no conditions for their realization. True, they are like a battery; they charge the soul with moral energy. It is very important to create conditions, a field of active activity in which the child’s feelings, experienced by him while reading fiction, would find their application, so that the child could assist and really sympathize. I would like to draw attention to the imagery, depth and symbolism of fairy tales. Parents are often concerned about what to do with scary tales, to read or not to read them to children. Some experts suggest excluding them altogether from the “reading repertoire” for young children. But our kids do not live under a glass bell; they are not always under the saving protection of their father and mother. They must grow up to be brave, persistent and courageous, otherwise they simply will not be able to defend the principles of goodness and justice. Therefore, they need to be taught early, but gradually and deliberately, perseverance and determination, the ability to overcome their own fears. Yes, children themselves strive for this - “folklore” and scary stories, which children of senior preschool and primary school age write and retell to each other.

A child raised on folk tale, feels the measure that the imagination should not exceed in art, and at the same time, the preschooler begins to develop realistic criteria for aesthetic assessments.

In a fairy tale, especially a fairy tale, much is allowed. The characters can find themselves in the most extraordinary situations; animals and even inanimate objects speak and act like people, and perform all sorts of tricks. But all these imaginary circumstances are needed only for objects to reveal their true, characteristic properties. If the typical properties of objects and the nature of the actions performed with them are violated, the child declares that the fairy tale is wrong, that this does not happen. Here, that side of aesthetic perception is revealed that is important for the development of a child’s cognitive activity, since a work of art not only introduces him to new phenomena, expands the range of his ideas, but also allows him to highlight what is essential and characteristic in the subject.

A realistic approach to fairy-tale fiction is developed in a child at a certain stage of development and only as a result of upbringing. Observations by T.I. Titarenko showed that children, without having the relevant experience, are often ready to agree with any fiction. Only in middle preschool age does a child begin to confidently judge the merits of a fairy tale, based on the plausibility of the events depicted in it. Older preschoolers become so strengthened in this realistic position that they begin to love all sorts of “shifters.” By laughing at them, the child discovers and deepens his correct understanding of the surrounding reality.

Preschool child loves a good fairy tale: the thoughts and feelings evoked by it do not fade away for a long time, they manifest themselves in subsequent actions, stories, games, and children’s drawings.

What attracts a child to a fairy tale? As A.N. rightly points out. Leontyev, for a correct understanding of certain private mental processes, it is necessary to take into account the nature of the motives that prompt the child to act, the reason for which he performs this operation. These issues are very little covered in traditional psychology. From the point of view, for example, psychoanalysts, a child’s interest in a fairy tale is due to dark, asocial desires, which, due to the prohibition of adults, cannot manifest themselves in real life and therefore they seek satisfaction in the world of fantastic constructions. K. Bühler believes that in a fairy tale, a child is attracted by a thirst for the unusual, unnatural, a primitive desire for sensation and miracle.

These kinds of theories are in conflict with reality. The enormous influence of properly organized aesthetic perception on the spiritual development of a child lies in the fact that this perception not only leads to the acquisition of individual knowledge and skills, to the formation of individual mental processes, but also changes the general attitude towards reality, contributes to the emergence of new, higher motives for the child’s activities .

In preschool age, activity becomes more complex: what it is aimed at and what it is performed for are no longer identical, as they were in early childhood.

New motives of activity, formed in the general course of development of the child as a result of his upbringing, for the first time make possible a real understanding of works of art, penetration into their ideological content. In turn, the perception of a work of art affects further development these motives. Of course, a small child is captivated by the colorful descriptions or the amusingness of the external situations in which they find themselves. characters, but very early on he also begins to be occupied by the internal, semantic side of the narrative. Gradually, the ideological content of a work of art is revealed to him.

A work of art captivates a preschooler not only with its external side, but also with its internal, semantic content.

If younger children are not sufficiently aware of the motives of their attitude towards the character and simply declare that this one is good and that one is bad, then older children already justify their assessments, pointing out the social significance of this or that action. Here there is already a conscious assessment of not only external actions, but also internal qualities person, an assessment based on high socially significant motives.

To understand something, a preschool child needs to act in relation to the cognizable object. The only form of activity available to a preschooler is real, actual action. In order to become familiar with an object, a small child must pick it up, tinker with it, and put it in his mouth. For a preschooler, in addition to practical contact with reality, internal activity of the imagination also becomes possible. He can act not only really, but also mentally, not only in directly perceived circumstances, but also in imaginary ones.

Playing and listening to fairy tales create favorable conditions for the emergence and development of the internal activity of the child’s imagination. Here there are, as it were, transitional forms from real, actual action with an object to thinking about it. When a child begins to master this form of activity, new possibilities open up for his knowledge. He can comprehend and experience a number of events in which he did not directly participate, but which he followed through an artistic narrative. Other provisions that do not reach the child’s consciousness, being presented to him in a dry and rational form, are understood by him and deeply touch him when they are clothed in artistic image. A.P. showed this phenomenon remarkably well. Chekhov in the story "At Home". The moral meaning of an act, if it is expressed not in the form of abstract reasoning, but in the form of real, concrete actions, becomes accessible to the child very early. " Educational value works of art, as B.M. rightly notes. Teplov, - first of all, this lies in the fact that they provide the opportunity to enter “inside life”, to experience a piece of life reflected in the light of a certain worldview. And the most important thing is that in the process of this experience certain attitudes and moral assessments are created that have incomparably greater coercive force than assessments simply communicated and assimilated."

Chapter 2. Experimental identification of features of the perception of fiction by preschool children

2.1 Experimental sample, base and theoretical justification of the experiment

The experimental work was carried out at the MBDOU "Child Development Center - Kindergarten No. 1" Anapa with children of senior preschool age in the amount of 15 people for a week. The theoretical concept of the experimental part of the work was the connection between the perception of fiction and the education of a child’s culture of behavior, i.e. the idea that fiction should be one of the most important means of education. That is why all developmental programs of preschool institutions pay great attention working with fiction. Using fiction as a means of instilling a culture of behavior, the teacher must pay attention to special attention on the selection of works, the methodology of reading and conducting conversations on works of art in order to form humane feelings and ethical ideas in children, on the transfer of these ideas into the lives and activities of children (to what extent are children’s feelings awakened by art reflected in their activities, in their communication with others people).

The purpose of the ascertaining experiment was to identify the level of development of behavioral culture skills in children of senior preschool age.

We set the following tasks:

Conduct a conversation with teachers;

Have a conversation with the children;

Conduct a survey of parents;

Observe the behavior of children in a preschool educational institution;

To develop criteria for the level of development of cultural behavior skills in children of senior preschool age.

2.2 Conducting the experiment and analyzing the results obtained

To solve these problems, we conducted a conversation with teachers and children, surveyed parents, observed children’s behavior, and analyzed methodological recommendations on issues of developing a culture of behavior in preschool children.

When conducting a conversation with educators, we sought to find out whether they use fiction in their work to instill a culture of behavior in children.

In a conversation with teachers, we found out what they consider important and necessary work on developing a culture of behavior in children in kindergarten. Fiction is considered one of the main means of instilling a culture of behavior. They easily gave examples of fairy tales, stories, and sayings used to instill a culture of behavior (for example, “The Magic Word” by Oseeva, “The Adventures of Dunno and His Friends” by Nosov, etc.).

Thus, based on the conversation, we can conclude that educators understand the meaning and importance of instilling a culture of behavior in preschoolers and use works of fiction in their work.

We conducted a survey of parents. Data analysis shows that parents understand behavioral culture narrowly - mainly as the ability to behave in public places. Work is underway to foster a culture of behavior in the family, but parents use a limited range of means. In particular, no one mentioned personal example as a means of instilling a culture of behavior. All parents read works of fiction to their children, but some do not realize their importance for instilling a culture of behavior in children.

A conversation with children showed that all children consider themselves cultured. However, in their opinion, to be cultured means to say hello when meeting, to be polite in dealing with elders. Only one child said that cultured person, this is the one who speaks politely with both adults and peers, looks neat, knows how to behave in public places, at the table. That is, children do not fully understand the concept of “cultural” and we should continue to work in this direction.

We also observed the behavior of children, namely their communication culture, activity culture, cultural and hygienic skills and relationship culture.

By cultural and hygienic skills we mean actions related to maintaining cleanliness and order. Let us conditionally divide them into four types: personal hygiene skills, food culture skills, careful attitude to things and skills to maintain order and cleanliness in the environment.

Observation showed that most children wash their hands on their own, without a teacher’s reminder, after a walk or before eating. At the table, the children sit carefully, do not make noise, only two children talk during meals and turn to other children. After a walk, not all children neatly fold their clothes; most children do this only after a reminder from the teacher, and Katya Ch. refuses to tidy up her closet. Many children do not handle books, things, toys with care, throw them away, and do not put them back in their place. Only after repeated requests from the teacher do children restore order in the group room, in the kindergarten area.

By culture of communication we understand the totality of formed socially significant qualities of a person that determine the way of his existence and the ability to make changes in reality.

All children, without exception, greet and say goodbye to adults and use polite forms of address, such as “please” and “thank you”. However, half of children do not use these peer communication skills. Some children do not consider it necessary to greet children in the group or address them politely. It should be noted that children address each other by name and do not call each other names.

We observed a culture of activity during classes, in games, and in carrying out work assignments.

Children getting ready for class necessary equipment- take out pens, notepads, etc., put away workplace after class. However, most children do this reluctantly, obeying the teacher’s demands. Matvey Sh., Vlad K. and Matvey A. are happy to help the teacher clean up the group after classes, for example, wash cups and brushes after drawing, clean boards from plasticine, etc. Children have a craving for interesting, meaningful activities. They know how to select game material in accordance with the game plan.

Observing the culture of relationships, we found out the following. Children do not always obey the teacher's demands. Matvey A. and Anya P. often interrupt the teacher and interfere in the conversation of adults. In play, children are able to negotiate joint actions and resolve conflict situations, often without the participation of a teacher. Children don't fight if they arise controversial issues, many discuss the situation and come to a common opinion, only sometimes resorting to the help of an adult to resolve the conflict.

Low level - the child knows how to keep in order the place where he works, studies, plays, but he does not have the habit of finishing the work he has started; he does not always treat toys, things, books with care. The child has no interest in meaningful activities. The child often neglects hygiene rules. When communicating with adults and peers, he behaves at ease and does not always use the appropriate vocabulary and standards of address. Does not know how to constructively resolve conflicts without taking into account the interests of a peer. Does not know how to negotiate joint actions. Refuses to come to the aid of an adult or another child.

Average level - children have a strong habit of finishing what they start; treat toys, things, books with care. Children are already consciously interested in something new and are more active in classes. In the process of communicating with adults, children are based on respect, friendly contact, and cooperation, but this is not always manifested in communication with peers. Children are more independent, they have a good vocabulary, which helps them express their thoughts and emotions. They always try to comply with hygiene requirements: they monitor the neatness, maintenance of the face, hands, body, hairstyle, clothes, shoes, etc. Children try to resolve the conflict by listening to the opinion of the other child, but continuing to insist on their own. Children are not always able to agree on joint actions; they prefer that others accept their point of view, but sometimes they give in. Help other children or adults at the request of the teacher, without showing independent initiative.

When identifying the level of development of cultural and hygienic skills, we paid attention to whether children are neatly dressed, whether they wash their hands and do this on their own or at the teacher’s reminder. We observed whether children treated books, things, and toys with care.

When determining the level of communication culture, we observed how the child behaves during a conversation, what forms of address he uses, and whether he knows how to listen to his interlocutor.

When determining the level of development of a culture of activity, we paid attention to how the child organizes his workplace, time, whether he cleans up after himself, and what types of activities he prefers to engage in.

When identifying the level of culture of relationships, we first of all paid attention to how the child interacts with other children and adults, agrees on joint actions, resolves conflict situations, and whether he complies with the norms of cultural behavior.

To identify the level of development of cultural behavior skills in each child, a scale was introduced in points from 1 to 5:

1 - low level;

2-3 - average level;

4-5 - high level.

The results are presented in Table 1.

Analysis of the table results showed that 46% of children have a high level of development of cultural behavior skills, 46% have an average level, and only 1 child (which is 6% of the number of children) has a low level.

The table also shows that children have the best developed culture of relationships with peers, and the least developed culture of activity.

Thus, the results of the experimental work allowed us to indirectly identify the features and level of completeness of preschool children’s perception of fiction.

Conclusion

Children should derive aesthetic, and especially moral (ethical) ideas from works of art.

K.D. Ushinsky said that a child does not only learn conventional sounds when studying his native language, but drinks spiritual life and strength from the native breast of his native language. One must completely trust the educational capabilities of a literary text.

The perception of a work of art is a complex mental process. It presupposes the ability to recognize and understand what is depicted; but this is only a cognitive act. A necessary condition for artistic perception is the emotional coloring of what is perceived, the expression of the attitude towards it (B.M. Teplov, P.M. Yakobson, A.V. Zaporozhets, etc.).

A.V. Zaporozhets noted: “... perception does not come down to a passive statement of certain aspects of reality, even very important and significant ones. It requires that the perceiver somehow enter into the depicted circumstances and mentally take part in the actions.”

The value judgments of preschool children are still primitive, but they indicate the emergence of the ability not only to feel the beautiful, but also to appreciate it. When perceiving works of art, it is important not only the general attitude towards the entire work, but also the nature of the attitude, the child’s assessment of individual characters.

A child’s acquaintance with fiction begins with oral folk art - nursery rhymes, songs, then he begins to listen to fairy tales. Deep humanity, extremely precise moral orientation, lively humor, figurative language are the features of these folklore miniature works. Finally, the child is read original fairy tales, stories accessible to him.

The people are unsurpassed teachers of children's speech. In no other works, except folk ones, is there such a pedagogically ideal arrangement of difficult-to-pronounce sounds, such a thoughtful combination of a series of words that barely differ from each other in sound (“if there was a blunt-lipped bull, a blunt-lipped bull, the bull would have a stupid lip”). The subtle humor of nursery rhymes, teasers, and counting rhymes is an effective means of pedagogical influence, a good “cure” for stubbornness, whims, and selfishness.

A journey into the world of a fairy tale develops the imagination of children, and encourages them to write. Children brought up on the best literary examples in the spirit of humanity show themselves to be fair in their stories and fairy tales, protecting the offended and weak, and punishing the evil.

For children of early and junior preschool age, the teacher mainly reads by heart (rhymes, poems, stories, fairy tales). Only prose works (fairy tales, short stories, stories) are told. Therefore, an important part of professional training is memorizing works of fiction intended for reading to children, developing expressive reading skills - a way to convey the full range of emotions, developing and improving the child’s feelings.

It is important to form in children a correct assessment of the heroes of a work of art. Conversations can provide effective assistance in this, especially using problematic questions. They lead the child to understand the “second” previously hidden from them, true face characters, the motives of their behavior, to an independent reassessment of them (in the case of an initial inadequate assessment).

E.A. Fleurina noted the naivety of children's perceptions - children do not like a bad ending, the hero must be lucky, kids do not want even a stupid mouse to be eaten by a cat. Artistic perception develops and improves throughout preschool age.

A preschooler's perception of works of art will be deeper if he learns to see the elementary means of expression used by the author to characterize the depicted reality (color, color combinations, shape, composition, etc.).

The goal of literary education for preschoolers, according to S.Ya. Marshak in the formation of the future of a great and talented writer, a cultured, educated person. The tasks and content of the introduction are determined on the basis of knowledge of the characteristics of perception and understanding of works of literature and are presented in the kindergarten program.

The results obtained in the practical part of the work will help educators and parents adjust the direction of pedagogical influence on children in an experimental preschool institution.

List of used literature

1. Alekseeva M.M., Yashina V.I. Methods of speech development and teaching the native language of preschoolers: Textbook. manual for students of the environment. ped. establishments. /MM. Alekseeva, V.I. Yashina. - M.: Academy, 2007. - 400 p.

2. Belinsky V.G. About children's books. Collection op. T.3. /V.G. Belinsky - M., 1978. - 261 p.

3. Vygotsky L.S., Bozhovich L.I., Slavina L.S., Endovitskaya T.V. Experience in experimental study of voluntary behavior. / L.S. Vygodsky, L.I. Bozhovich, L.S. Slavina, T.V. Endovitskaya // - Questions of psychology. - No. 4. - 1976. P.55-68.

4. Vygotsky L.S. Thinking and speech. Psychological research / ed. and from the entrance. article by V. Kolbansky. - M., 2012. - 510c

5. Gurovich L.M., Beregovaya L.B., Loginova V.I. The child and the book: a book for children's educators. garden / Edited by V.I. Loginova - M., 1992-214p.

6. Childhood: a program for the development and education of children in kindergarten / V.I. Loginova, T.I. Babaeva, etc. - M.: Detstvo-Press, 2006. - 243 p.

7. Zaporozhets A.V. Psychology of a preschool child’s perception of a literary work // Izbr. psycho. works T.1. / A.V. Zaporozhets - M., 1996. - 166 p.

8. Karpinskaya N.S. Artistic word in raising children (early and preschool age) / N.S. Karpinskaya - M.: Pedagogy, 2012. - 143 p.

9. Korotkova E.P. Teaching preschool children storytelling / E.P. Korotkova - M.: Enlightenment, 1982. - 128 p.

10. Luria, A.R. Lectures on general psychology / A.R. Luria - St. Petersburg: Peter, 2006. - 320 p.

11. Maksakov A.I. Does your child speak correctly /A.I. Maksakov. - M. Education, 1982. - 160 p.

12. Meshcheryakov B., Zinchenko V. Large psychological dictionary / B. Meshcheryakov, V. Zinchenko - M.: Prime-Euroznak, 2003. - 672 p.

13. Titarenko T.I. Factors influencing the perception of literary text by preschool children: Author's abstract. dis. Ph.D. Philol. Sciences/T.I. Titarenko - M. 2010. - 48 p.

14. Repina T.A. The role of illustration in children’s understanding of literary text // Questions of psychology - No. 1 - 1959.

15. Rainbow. Program for upbringing, education and development of preschool children in a kindergarten / T.N. Doronova, S. Jacobson, E. Solovyova, T. Grizik, V. Gerbova. - M.: Education, 2003. - 80 p.

16. Rozhina L.N. Psychology of raising a literary hero by schoolchildren / L.N. Rozhina - M.: Enlightenment. - 1977. - 158 p.

17. Rubinshtein S.L. Fundamentals of general psychology. M., 1946.465-471s.

18. Teplov B.M. Psychological issues of artistic education // Pedagogy. - 2000. - No. 6. - P.96.

19. Tikheyeva E.I. Speech development in children (early and preschool age). /E.I. Tikheyeva // Preschool education. - No. 5. - 1991. pp. 12-18.

20. Philosophical encyclopedic dictionary. - INFRA-M, 2006 - P.576.

21. Yashina V.I. Some features of the development of the vocabulary of children of the fifth year of life (based on the material of familiarization with the work of adults): abstract. dis. Ph.D. ped. Sciences, - M., 1975. - 72 p.

22. http://sesos. su/select. php

Appendix 1

Table 1. Results of the ascertaining experiment to identify the level of development of cultural behavior skills in children of senior preschool age

F.I. child	Cultural and hygienic skills	Communication culture	Activity culture	Relationship culture	Average score
		with adults			with adults
Matvey A.
Matvey Sh.
Marcel K.
Psychological and pedagogical problems of using innovative technologies in working with preschool children. Peculiarities of color perception by children of senior preschool age. Development of creative abilities and color perception of preschoolers. course work, added 03/04/2011 Fairy tale as a genre of fiction, its classification. Age-related characteristics of the perception of a fairy tale and its developmental significance. An empirical study of the level of perception of a fairy tale and its influence on the development of imagination in preschool children. thesis, added 10/31/2014 The problem of moral education of preschool children. Peculiarities of children's perception of works of fiction. The educational role of fairy tales. Formation of friendly relationships in children of primary preschool age through this genre. course work, added 02/20/2014 Age-related characteristics of the perception of time by preschool children. The concept of children's literature and its genres. The concept of time and its properties. Possibilities of using children's literature in the formation of temporary ideas in preschool children. thesis, added 10/05/2012 Psychological and pedagogical characteristics of the development of preschool children. Stages of development of perception of a work of art. Features of children's perception of the content of the book. Principles of illustrating books depending on the age of readers. course work, added 06/03/2014 Pedagogical work on speech development with children suffering from dysarthria. Psychological and pedagogical substantiation of this problem. The connection between phonemic perception and pronunciation, the creation of optimal conditions for their development in preschool children. test, added 11/16/2009 Analysis of psychological and pedagogical literature on the topic of perception. Artistic perception that moves towards the idea laid down by the author of the work. The process of development of artistic perception of preschool children and the creativity of Irkutsk artists. thesis, added 02/15/2011 Familiarization with age-related characteristics of perception of children of senior preschool age. Research and characterization of the dynamics of development of color perception in children of senior preschool age. Development of tasks for the development of color perception. thesis, added 12/18/2017 Possibilities of using fiction in the process mathematical development preschoolers. Features of preschool children's perception of literary texts. Pedagogical recommendations for the process of developing quantitative concepts. course work, added 02/13/2011 Psychological characteristics development of interpersonal perception in older preschool age. The influence of pedagogical communication style on the perception of the teacher’s personality by older preschoolers. Diagnostics of the characteristics of the perception of the teacher’s personality.

Description of the presentation by individual slides:

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PERCEPTION OF FICTION AND FOLKLORE Contents of educational activities Prepared by teacher v.k. Bashlykova I.Yu. INTRODUCTION OF GEF

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The perception of fiction and folklore is one of the types of activities that ensure development in all educational areas, and some of the problems this type of activity will solve directly, and some, only under certain conditions. The perception of fiction and folklore contributes to the appropriation of moral and moral norms and values ​​accepted in society.

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Perception of fiction and folklore thinking memory imagination attention sensations and emotions Provides development in all educational areas Artistic and aesthetic development Speech development Social and communicative development Cognitive development Physical development

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Perception of fiction and folklore Technical side Semantic side understanding of the text emotions, imagination, logical comprehension Creative process looking at a book reading the text discussing what has been read Reproduction and comprehension

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Technical side READING FICTION IN KINDERGARTEN: Stages of reading activity Methodical techniques Examination of the book a) discussion of the title of the text, illustrations b) conversation (what questions arose?) c) main result– the desire to read a book Reading a book reading a text by adults in slow reading mode task: to help young readers “enter” the text, the important thing is: the nature of reading the text, primary reading Discussion of what they read a) invite children to briefly tell what the text is about b) play “truth - false” "c) offer to express your attitude to what you read with the help of colors, gestures, facial expressions. Reproduction about understanding what you read with the help of special. tasks a) you can act out the story in person b) draw a “cartoon” (with the help of an adult) c) offer a retelling using illustrations, free storytelling d) poetic text: recitation, choral reading e) completing a task in a special textbook manual “Our books” O.V. Chindilova, A.V. Badenova

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The semantic side Formation of areas of reading activity: Areas of reading activity Age of children Methods and techniques of work Emotional sphere: from 2 years Expressive reading, joint chanting, comparison of a literary work with other forms of art, revitalization of personal impressions by association with the text, etc. The sphere of reconstructive and creative imagination: from 4 -5 years old Drawing, creative retelling, dramatization, making maps, diagrams, models, costumes, etc. The sphere of reaction to the artistic form: from 5 -6 years old A story about a hero, an event, a discussion of the hero’s actions, a selective retelling , asking questions about the text, answering questions, etc. Sphere of reaction to the artistic form: from 6 to 7 years Observation of sound recording, rhythm, rhyme

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The semantic side of the structure of reading activity: The main criterion for choosing methods and techniques when organizing children's activity of perceiving fiction and folklore is a guide to the most active sphere of reading activity in a given age period and to the tasks of a particular stage of activity. Motivational stage: Inclusion of motives, formation goals Orientative-exploratory stage: forecasting and planning Performing stage: influencing emotions, turning on the imagination, semantic processing of the text Reflective stage: recording emotions, the meaning of the text, creativity

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Artistic and aesthetic development The child develops elementary ideas about various types arts: Music: The child expresses his attitude towards the hero or plot through song, dance fine arts: The child illustrates a fairy tale or examines illustrations to the text Theater: The child dramatizes the work TEACHER: Introduces the child to the perception of the text through dialogue and commented reading; Creates conditions for the development of prerequisites for value-semantic perception and understanding of works; Forms elementary ideas about various types of art; Stimulates empathy for the characters of works of art; Creates conditions for the formation of an aesthetic attitude towards the surrounding world described in the work

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Speech development The child’s coherent, grammatically correct dialogical and monologue speech develops; The child masters speech as a means of communication; The sound and intonation culture of speech and phonemic hearing of the child develops; Sound analytical-synthetic activity is formed as a prerequisite for a child to learn to read and write; An elementary understanding of children's literature and its genres is formed; An auditory perception of the text is formed, and at the reflective stage, children reproduce (stage) the work, etc. TEACHER: Introduces children to conversations on spiritual- moral themes; Stimulates speech activity based on literary works and folklore; Teaches children to rely on personal experience (real situations of children's communication); Introduces children to book culture (by looking at a book)

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Social and communicative development TEACHER: Draws the child’s attention to the significance of the actions of the heroes of the work (the child tries on the role of the character, evaluates his actions, imitates him); Promotes the development of emotional responsiveness and empathy; Develops the ability to communicate and interact with peers and adults; Promotes the development of self-regulation and independence The child develops a respectful attitude and a sense of belonging to his family, small homeland and fatherland; The child develops ideas about the sociocultural values ​​of our people, about domestic traditions and holidays, and the continuity of generations; The child develops communication and interaction skills with adults and peers, and develops readiness for joint activities; The rules of safe behavior in everyday life, society and in nature are reinforced

Cognition is the reproduction in consciousness (individual and collective) of the characteristics of objective reality. Cognition is socially and culturally mediated historical in nature and in most cases presupposes a more or less pronounced awareness of the means and methods of cognitive activity used.

Formation cognitive interests, are naturally associated with the process of learning, when the main content of a child’s life is a gradual transition from one level of knowledge to another, from one level of mastery of cognitive and practical skills to another, higher one.

Preschool age is the period of the most intensive formation of the motivational sphere. Among the various motives of preschool children, a special place is occupied by the cognitive motive, which is the most specific for older preschool age.

In the context of the Federal State Educational Standard for Education, cognitive development involves the development of children’s interests, curiosity and cognitive motivation; formation of cognitive actions, formation of consciousness; development of imagination and creative activity, the formation of primary ideas about oneself, other people, objects of the surrounding world, the properties and relationships of objects of the surrounding world, organization of activities in the form of partnership activities with an adult, where he demonstrates examples of research activities, and children get the opportunity to demonstrate their own cognitive activity.

It is difficult to imagine preschool childhood without books. Accompanying a person from the very first years of his life, fiction has a great influence on the development and enrichment of a child’s speech: it develops imagination and provides excellent examples of the Russian literary language. Listening to a familiar fairy tale or poem, the child experiences and worries along with the characters. This is how he learns to understand literary works and through this is formed as a person.

At the beginning of the 21st century numerous problems modernization of society has affected the opportunities for access to culture and education, which has affected both adult reading and children's reading. Researchers note the following negative trends in this area: a decrease in interest in books, a slower entry of children into book culture, and a reduction in the share of reading in the free time structure of the younger generation. The reading process is significantly influenced by the powerful development of audiovisual media. It becomes obvious that modern stage issues of nurturing children's interest in fiction and folklore genres require increased attention from teachers of preschool educational institutions.

The relevance of this problem in our time leads to the idea that we, teachers, need to carry out enormous work with children in this direction: from the revival of the lullaby, the ability to tell children fairy tales and traditions of our people, to introducing children to the heights of classical, domestic and world literature, plastic arts, theater, music.

Based on this, one of the most important tasks in the development of the personality of a preschool child is his assimilation of the spiritual wealth of the people, their cultural and historical experience created over the centuries by a huge number of previous generations.

Many works by teachers and psychologists are devoted to the problem of developing children’s interest in fiction. Various aspects of this problem were studied by E.A. Flerina, M.M. Konina, N.S. Karpinskaya, N.A. Vetlugina, E.I. Tikheyeva, R.M. Zhukovskaya.

Modern researchers children's reading, such as M.K. Bogolyubsky, L.M. Gurovich, E.P. Korotkova, V.V. Shevchenko and others, great value give the impact of a work of art on the moral, aesthetic, emotional, speech development children, paying special attention to the psychological and pedagogical features of introducing preschool children to fiction.

The educational field “Cognitive Development” sets itself the following tasks:

• development of children's interests, curiosity and cognitive motivation;
• formation of cognitive actions, formation of consciousness;
• development of imagination and creative activity;
• the formation of primary ideas about oneself, other people, objects of the surrounding world, about the properties and relationships of objects in the surrounding world, about small homeland and the Fatherland;
• ideas about the sociocultural values ​​of our people, about domestic traditions and holidays;
• about planet Earth, how common house people, about the peculiarities of its nature, the diversity of countries and peoples of the world.

The study of fiction and folklore contributes to the implementation of the objectives of the Standard.

The goal of the work of preschool educational institutions in accordance with the Federal State Educational Standard for Educational Education, to familiarize children with fiction, should be the formation of interest and need for reading (perception) of books.

Formation of a holistic picture of the world, including primary value ideas;

Development of literary speech;

Introduction to verbal art, including the development of artistic perception and aesthetic taste.

When choosing a range of works to read, it is necessary to introduce the preschooler to literary texts, which reveal to him the riches of the surrounding world and human relationships, give rise to a sense of harmony, beauty, teach him to understand the beauty in life, and form in the child his own aesthetic attitude to reality. When choosing a work, preference is given to those that contain moral basis, whose characters are close and understandable to preschoolers. It is necessary to take into account such characteristics of children as receptivity and the desire to imitate their favorite characters.

In all countries, preschool literary education and upbringing is based primarily on national material. It is in literature that the principles and patterns of behavior characteristic of a given cultural tradition are reflected. They play an important role in shaping children’s ideas about good and evil, which subsequently serve as guidelines for the moral assessment of their own behavior.

When choosing works to read with children, it is necessary to take into account the age characteristics of their perception of fiction.

Thus, the following features are characteristic of children of primary preschool age:

• dependence of text understanding on their personal experience;
• establishing easily recognizable connections when events follow each other;
• in the spotlight main character, children most often do not understand his experiences and motives for his actions;
• the emotional attitude towards the characters is brightly colored;
• there is a craving for a rhythmically organized style of speech.

In middle preschool age, some changes occur in the understanding and comprehension of the text, which is associated with the expansion of the child’s life and literary experience. Children establish simple causal connections in the plot and, in general, correctly evaluate the actions of the characters. In the fifth year, a reaction to the word appears, interest in it, the desire to repeatedly reproduce it, play with it, and comprehend it. According to K.I. Chukovsky, a new stage begins literary development child, a keen interest arises in the content of the work, in comprehending its inner meaning.

In older preschool age, children begin to become aware of events that were not in their personal experience; they are interested not only in the actions of the hero, but also in the motives of actions, experiences, and feelings. They are able to sometimes pick up on subtext. An emotional attitude towards the characters arises on the basis of the child’s comprehension of the entire conflict of the work and taking into account all the characteristics of the hero. Children develop the ability to perceive text in the unity of content and form. The understanding of the literary hero becomes more complex, and some features of the form of the work are realized (stable turns of phrase in a fairy tale, rhythm, rhyme).

In various sections of the program, according to which our kindergarten successfully operates, tasks are spelled out to familiarize children with folk culture:

• expanding ideas about Russian folk art,
• folk life, culture, traditions and customs;
• accumulation of sensory and emotional impressions about works of folk applied art;
• enriching children's ideas with vivid impressions through fiction, musical and theatrical activities;
• introducing children to folk games.

Teachers are faced with the task of helping children understand the uniqueness of the Russian national character, its wonderful original qualities using the example of folk art. It is important not just to achieve mechanical reproduction of games, songs, chants, but to return them to a living, natural existence.

When forming a circle of children's reading, it is necessary, first of all, to be guided by the principle of the comprehensive development of the child, since the selection of fiction in accordance with applied principles (by genres, periods, writers) is focused more on the study of literature, or the literary education of children. The conditions for the effectiveness of organizing the reading process are systematicity, expressiveness and organization of reading as a joint activity of an adult and children (and not within the framework of a regulated activity). The criterion for effectiveness is the joy of children when encountering a book, “reading” it with immediate interest and enthusiasm.

It is also important to teach children to compare what they hear with the facts of life. In kindergarten, the child develops some basic skills in analyzing a work (its content and form). By the time each child enters school, he should be able to identify the main characters (who the work is about, show his attitude towards them, who he likes and why), determine the genre of the work (poem, story, fairy tale), and catch the most striking examples of figurative language (definitions , comparisons, etc.).

Children must learn some of the program works by heart (poems, small folklore genres), and some must be able to convey close to the text (retell). In addition, the child masters ways of playing roles in dramatization, in play-dramatization based on literary plots.

Thus, the tasks and content of the work of the preschool educational institution for children to master the educational module “Reading Fiction” are aimed at achieving the goal of developing cognitive interest and the need for reading and perceiving books in accordance with the requirements for the structure of the main educational program preschool education.

Effective forms and methods of forming cognitive interests in the process of perceiving fiction and folklore.

The formation of cognitive interests in the process of perceiving fiction and folklore includes both traditional and innovative methods and techniques.

Traditional methods include reading and telling works of literature in special classes and outside classes (during games, theatrical performances, on a walk, etc.).

Innovative methods of working with fiction include the following:

Integrated classes that combine the content of different educational modules (for example, “Reading fiction” and “Artistic creativity”, etc.),

Theatrical performances staged with the participation of children based on stories and fairy tales;

Discussion of illustrations famous artists on the theme of fairy tales,

- “writing” a fairy tale. Children are invited to remember famous fairy tale and tell it in a new way. For example, add a new character, introduce new information;

- “salad from fairy tales.” Children are invited to combine heroes from various works in a new fairy tale. For example, three bears, a wolf and seven kids, Little Red Riding Hood, and describe their adventures in the forest;

Project activities (for example, the game project “Playing a Fairy Tale”);

Classes using multimedia;

Classes - excursions (for example, “Golden Autumn in the poems of A. S. Pushkin”), etc.

The interrelation of traditional and innovative methods and techniques makes the process of introducing preschoolers to works of art more effective.

Familiarization with fiction is carried out both in classes and in joint and independent activities of children. During the lessons, working on the text includes four stages.

1. Before reading, you need to name the author’s surname, the title of the work, you can read a fragment from it, show the children the illustration preceding the text. This encourages the children to make assumptions about the content of the text, its themes, and characters. The main thing is to make children want to read the book.

2. Reading the text. During the reading process, it is necessary to make short stops to explain and clarify the meaning of words, invite children to imagine this or that scene, imagine subsequent events, feel the emotional state of the characters, and ask questions. Thus, the children develop the ability to listen carefully, comprehend the text meaningfully, and express their attitude to what they read.

After reading, conduct a discussion of the text in order to identify:

1. how the children understood the main idea of ​​the work;
2. what is their attitude towards the actions of the characters;
3. what is the author’s attitude towards his characters;
4. to what extent the assumptions about the content of the text came true.

In conclusion, children reproduce the content of the text: they dramatize episodes, “revive” illustrations, act out pantomimes, draw pictures, voice them and retell them using pictograms.

Preparing children to perceive a new work can be done in different ways. For example: place in a book corner new book, if possible, - separate drawings by artists for this work. Children, looking at the illustrations, try to determine what kind of book it is (a fairy tale, a story) and what it is about. At the beginning of the lesson, ask the students about their assumptions, praise them for their observation and ingenuity. Name the work. Then demonstrate toys and objects related to the content of the fairy tale, help children remember their names, explain their purpose, and talk about their features. In addition, conduct a special speech exercise to help children learn new words. So, before reading the fairy tale “The Hare Boasts,” tell the children: “There is a giant house. “Not a house, but a home!” - passers-by admire.” And invite the children to come up with words themselves that characterize very large objects. Listen to the answers. Ask to complete the phrases that will be spoken (“The cat has a mustache, the tiger has a mustache, the cat has a paw, the lion has a paw”). Explain that the words mustache and paws belong to the hare - the hero new fairy tale"The hare is bragging." This hare, boasting, said: “I don’t have a mustache, but whiskers, not paws, but paws, not teeth, but teeth.” Ask the children to repeat what the hare said. Ask: “How do you think the fairy tale will talk about a giant hare?” Listen to the children’s opinions, then suggest: “Well, let’s check which of you is right,” and read the fairy tale. Another trick: inform that you will now tell a fairy tale with a completely unusual title - “Winged, shaggy and buttery.” Ask: “Who do you think they are?” “You know the name of the fairy tale. Try to compose its beginning,” suggest a new task. Then offer to come up with an ending to the work.

In the preparatory group, sayings are used, especially in cases where there was no preparatory work to class. In its mood, the saying is connected with the work. In the second half of the year, children, having learned to listen attentively to a saying, often quite correctly guess what will be discussed. The saying should be told twice. The following sayings are used for the preparatory group:

The fox walked through the forest,

Song calls were displayed

The fox tore the stripes, the fox weaved the bast shoes

The horse at the porch kicks with three hooves,

And the Duck in boots sweeps the hut.

Like a cat baking pies in an oven,

The cat is sewing a shirt at the window,

A piglet is pounding peas in a mortar.

The telling of a fairy tale ends with one of the traditional endings for Russian folklore, for example:

This is how they live

Gingerbread cookies are chewing,

They drink it with honey,

They are waiting for us to visit.

Sayings can be used when reading fairy tales to children. free time. All this helps children remember sayings and use them independently in games, dramatizations, performances, and enrich the speech of preschoolers.

After reading, a conversation is held, questions are asked that help students better understand the content of the fairy tale and correctly evaluate some of its episodes; the most interesting comparisons, descriptions, typically fabulous figures of speech are repeated in order to comprehend linguistic feature works of this genre. Another group of techniques used has a training and assessment focus: prompting a word or phrase, retelling in parts, assessment, questions. If the text contains dialogue, retelling by roles is used.

To develop interest in reading, various forms of organizing joint activities to familiarize with fiction are carried out: a tournament literary heroes, theater of miniatures, literary ring, literary living room of the writer.

For the development of cognitive interest in the group, it is of no small importance to create a developing subject-spatial environment, which includes the “Book Corner”, in which albums with portraits of writers, illustrations and series of plot pictures for books, colorful publications of various genres - poems, stories, fairy tales, folklore, riddles and others. There are also audiobooks that you can listen to. In the book workshop, your child can make mini-books with illustrations and take them home for family reading.

The most important means of working with fiction is play - dramatization. Its originality lies in the fact that it combines role-playing game and creative activity of children. In addition to dramatization games, where the plot and language of the works are mainly preserved, kindergartens also use role playing games on the plots of works of art, which generally develop arbitrarily according to the children’s plans. The child’s creativity is manifested in a truthful portrayal of the hero, in penetration into his inner world.

Literary holidays and book holidays have a special emotional impact on children - complex events that include various forms - a conversation, a story, watching a film, a competition, a quiz, a theatrical performance. Literary holidays can be dedicated to the anniversary of your favorite children’s writer, as well as a specific theme (“Congratulations to mom,” “Let’s laugh with the writer,” etc.) An effective remedy Introducing children to books and reading also includes excursions to the children's library and meetings with children's writers.

A huge amount of work to familiarize preschoolers with the rich art of the Russian people allows them to introduce children to national culture. We, adults, need to surround our children with love, care, attention, affection, teach them to enjoy life and treat their peers and adults kindly. Adults lead the child along the path of understanding the world and understanding himself in this world, playing with him, and later creating all the conditions for his independent play.

When introducing children to folk culture, I actively, creatively assimilate many seemingly dead and frozen traditions of folk culture.

Replenishing the development environment with necessary household items, she produced manuals for classes, attributes for games, and collected material bit by bit, creating card indexes.

Working with the younger group, I constantly noticed the children’s interest in nursery rhymes and riddles. They liked it when I took the Katya doll in my arms and began to sing in a gentle voice, rocking her:

Bye, bye, bye, bye!

You little dog don't bark

Whitepaw, don't whine,

Don't wake up my daughter!

While washing and combing the children’s hair, she introduced them to the songs “Water, water...”, “Grow the braid...”. After such short performances, the children easily memorized the songs and transferred them to everyday play. Getting to know nursery rhymes begins with looking at pictures, illustrations, and toys. In the preliminary conversation, the meaning of the new words that the children heard in nursery rhyme is explained. It’s nice to watch how children use songs during the game “Mothers and Daughters” and how carefully they treat their dolls.

As the children grew up, it was necessary to select folklore material with a more complex meaning. Children are tasked not only with memorizing the text, but also with emotionally playing and acting out it. Children learn to move, talk like a fox, a hare, a bear, etc., depending on what the song is about. For example, in a nursery rhyme:

Shadow, shadow, shadow,

There is a fence above the city,

The animals sat under the fence,

We boasted all day.

The fox boasted:

“I am beautiful to the whole world!”

The bunny boasted:

“Go, catch up!”

Not all children can convey the character's character. But gradually every child can learn to play any role.

In older groups, a lot of time is spent telling fairy tales. During the story, it is necessary to show children emotions and facial expressions. This helps children understand the content of the fairy tale and express their attitude towards its characters. It is advisable to hold a competition among children for the best drawing or craft based on fairy tales, for example, “What a miracle are these fairy tales...”, “Who did Kolobok meet?” Carry out games-dramatization of individual episodes at the request of the children.

Another technique used is listening to audio recordings of fairy tales. The music that accompanies the fairy tale and the songs of its characters help children listen to the melodies, think about the characters’ characters, and enjoy the melodiousness of their native language.

Folklore provides excellent examples of Russian speech, imitation of which allows a child to more successfully master his native language.

Proverbs and sayings are the pearls of folk art. They affect not only the mind, but also the feelings of a person. The proverb can be used in any situation: “Seven do not wait for one,” “If you hurry, you make people laugh.”

During walks, proverbs help children better understand various phenomena and events: “Spring is red with flowers, and autumn with fruits,” “March with water, April with grass,” etc. By studying proverbs about work, children become assistants in creating a card index of proverbs and sayings. Together with their parents, they design them, and in kindergarten they explain their meaning and learn to understand in what situations they can be used. The guys often encourage each other: “Patience and work will grind everything down,” “The master’s work is afraid,” “When you’ve finished the work, go for a walk.” In free activities, competitions are held: “Continue the proverb.”

To deepen and clarify children’s knowledge about the world around them, it is useful to make riddles: “Who and what is this?”, “I’ll make a guess, and you guess,” “Give me a word.”

Russian folklore is reflected in round dancing games, so great importance must be given to teaching children folk plot, movement and round dancing games. Gradually, stimulating interest in joint and independent games, I introduce children to ritual, leisure, active, story games. When looking at illustrations, household items and art with the children, it is necessary to introduce them to national customs, folklore. Talk about the plot of the game, explain the role of the driver, choose him using counting rhymes.

The children learned many different games: “Geese - Swans”, “Wicket”, “Blind Man’s Bluff”, etc.

The group has created the necessary conditions for games. A card index of folk games with rules and their descriptions has been collected. IN accessible place– masks, costumes, outfits for transforming children into heroes of various games.

My work would not be so fruitful if it were not for the help of my parents. To find a response in their hearts, I held short conversations and consultations with them.

The group developed the project “ Talented Readers”, which made it possible to find in the person of parents the necessary and reliable helpers who deepen their children’s love for books and oral folk art.

The Talented Readers project includes:

1. parent survey “My Family’s Reading Habits”;
2. homework to develop children's perception and understanding of literary works and works of folklore;
3. compiling a card index for family reading;
4. thematic parent meeting “Teaching Children to Read”;
5. literary evenings;
6. Instructions for parents on organizing family reading.

During the year, literary evenings were organized together with parents: - “My Favorite Book”, “Poetry Evening”, “Show a Fairy Tale”. In the spring, the kindergarten traditionally held a children's book festival. For the most part, these are activities organized by adults. With the indirect support of educators, children, on their own initiative, look at or draw illustrations for the books they like, communicate with each other, looking at the illustrations and recite them by heart, as if “reading” their favorite book to a friend. An analysis of the results of the educational program in this area of ​​work showed that children treat books with interest. Every time there were children at the bookcase, looking at the illustrations and making mini-books.

Thus, we can conclude that the development of children’s perception and understanding of literary works is facilitated by varied, interesting and meaningful activities, which can include both forms organized by adults and independent creative activity of the children themselves, thereby forming cognitive interest.

Conclusion

Works of fiction and folklore form a child’s cognitive interest, open and explain to children the life of society and nature, the world of human feelings and relationships. They not only entertain and delight children, but also lay the foundations of morality, develop the child’s thinking and imagination, enrich his emotions, and provide examples of literary language. Gradually, children develop a selective attitude towards literary works and an artistic taste is formed.

Fiction is a universal developmental and educational tool, taking the child beyond the limits of the directly perceived, immersing him in possible worlds with a wide range of models of human behavior and orienting him in a rich linguistic environment.

The role of fiction and folklore in the development of children's cognitive interests is truly great. And in many ways, it depends on both parents and educators whether the child will experience joy from communicating with a book, so that this communication becomes a need, then the book will contribute to the development and upbringing of the child.

References:

1. Bogolyubskaya, M. K. Artistic reading and storytelling in kindergarten [Text] / M. K. Bogolyubskaya, V. V. Shevchenko. – M.: Education, 1980 – 224 p.
2. Budarina T.A., Korepanova O.N. Introducing children to Russian folk art. Methodical manual - St. Petersburg: CHILDHOOD - PRESS, 2001.
3. Gurovich, L. Child and book [Text] / L. Gurovich, L. Beregovaya, V. Loginova. – St. Petersburg. : Peter, 1996. – 324 p.
4. Dal V.I. Proverbs of the Russian people. - M.: Publishing house EKSMO-Press, Publishing house NNN-2002.
5. Childhood: Program for the development and education of children in kindergartens.
6. Kabanenkova N. Days lived with children / Folklore in the lives of children - // Preschool Education, No. 4, 1997.
7. Karpinskaya, N. S. Artistic word in raising children [Text] / N. S. Karpinskaya - M.: Pedagogika, 1972. - 152 p.
8. Knyazeva O.L., Makhaneva M.D. Introducing children to the origins of Russian folk culture/Program. Teaching method, manual / St. Petersburg: DETSTVO-PRESS, 2000.
9. Korotkova, E. P. Teaching preschool children storytelling. [Text] /E. P. Korotkova. - M.: Education, 1982. – P. 128.
10. Ancient Russian proverbs and sayings / Intro. article, comp., note. V.P. Anikina; - 2nd add. ed. - M.: Det. lit., 1984.
11. Flerina, E. A. Aesthetic education of a preschooler [Text] / E. A. Flerina. – M.: APN RSFSR, 1961. – 334 p.

The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation.

The perception of fiction by preschool children is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. The child enters into the depicted circumstances, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity extremely expands the sphere of a child’s spiritual life and is important for his mental and moral development. Listening to works of art along with creative games is of utmost importance for the formation of this new type of internal mental activity, without which no creative activity is possible. A clear plot and a dramatized depiction of events help the child to enter into the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.

At one time S.Ya. Marshak wrote in “Great Literature for Little Ones”: “If the book has a clear unfinished plot, if the author is not an indifferent recorder of events, but a supporter of some of his heroes and an opponent of others, if the book has a rhythmic movement, and not a dry, rational sequence, if the conclusion from the book is not a free addition, but a natural consequence of the entire course of facts, and besides all this, the book can be acted out like a play, or turned into an endless epic, inventing new and new continuations for it, this means that the book is written in real children's language language"

L.S. Slavina showed that with appropriate pedagogical work, it is already possible to arouse interest in the fate of the hero of the story in a pre-preschooler, force the child to follow the course of events and experience feelings that are new to him. In a preschooler one can observe only the beginnings of such assistance and empathy for the characters of a work of art. The perception of a work takes on more complex forms in preschoolers. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts with him, fights his enemies. The activities carried out in this case, especially at the beginning of preschool age, are very close in psychological nature to play. But if in a game the child actually acts in imaginary circumstances, then here both the actions and the circumstances are imaginary.

During preschool age, the development of an attitude towards a work of art goes from the child’s direct naive participation in the depicted events to more complex forms of aesthetic perception, which, for a correct assessment of a phenomenon, require the ability to take a position outside them, looking at them as if from the outside.

So, the preschooler is not egocentric in perceiving a work of art. Gradually, he learns to take the position of a hero, mentally support him, rejoice at his successes and be upset by his failures. The formation of this internal activity in preschool age allows the child not only to understand phenomena that he does not directly perceive, but also to relate from the outside to events in which he did not directly participate, which is crucial for subsequent mental development.

Features of the perception of fiction by preschoolers

In accordance with the Federal State Educational Standard for preschool education speech development involves familiarity with book culture, children's literature, and listening comprehension of texts from various genres of children's literature. The most important condition for the implementation of this task is knowledge of the age-related characteristics of the perception of preschoolers, in this case, the perception of works of fiction. At 3-4 years ( junior group) children understand main facts of the work, capture the dynamics of events. However, understanding of the plot is often fragmentary. It is important that their understanding is connected with direct personal experience. If the narrative does not evoke any visual ideas in them and is not familiar from personal experience, then, for example, Kolobok may be more incomprehensible to them than the golden egg from the fairy tale “Ryaba Hen”.
Kids are better comprehend the beginning and end of the work. They will be able to imagine the hero himself and his appearance if an adult offers them an illustration. In the hero's behavior they see only actions, but do not notice his hidden motives for actions and experiences. For example, they may not understand Masha's true motives (from the fairy tale "Masha and the Bear") when the girl hid in the box. Children's emotional attitude towards the characters of the work is clearly expressed. Features of the perception of a literary work by children of primary preschool age determine tasks:
1. Enrich the life experience of children with the knowledge and impressions necessary to understand a literary work.
2. Help correlate existing childhood experiences with the facts of a literary work.
3. Help establish the simplest connections in the work.
4. Help to see the most striking actions of the heroes and evaluate them correctly. At 4-5 years old (middle group) children’s experience of knowledge and relationships is enriched, the range of specific ideas is expanding. Preschoolers easy establish simple cause-and-effect relationships in the plot. They can isolate the main thing in a sequence of actions. However, the hidden intentions of the heroes are not yet clear to children.
Focusing on their experience and knowledge of norms of behavior, most often they give the correct assessment of the hero’s actions, but highlight only simple and understandable actions. The characters' ulterior motives are still overlooked.
The emotional attitude to a work at this age is more contextual than that of 3-year-olds. Tasks:
1. To develop the ability to establish various cause-and-effect relationships in a work.
2. Draw children’s attention to the hero’s various actions.
3. To develop the ability to see simple, open motives for the actions of heroes.
4. Encourage children to determine their emotional attitude towards the hero and motivate him. At 5-6 years old ( senior group) Children are more attentive to the content of the work and its meaning. Emotional perception is less pronounced.
Children are able to understand events that were not in their direct experience. They are able to establish diverse connections and relationships among the characters in the work. The most beloved are the “long” works - “The Golden Key” by A. Tolstoy, “Cippolino” by D. Rodari, etc.
Awareness appears interest in the author's word, auditory perception develops. Children take into account not only the actions and actions of the hero, but also his experiences and thoughts. At the same time, older preschoolers empathize with the hero. The emotional attitude is based on the characterization of the hero in the work and is more adequate to the author’s intention. Tasks:
1. To encourage children to establish diverse cause-and-effect relationships in the plot of the work.
2. To develop the ability to analyze not only the actions of the characters, but also their experiences.
3. Form a conscious emotional attitude towards the characters of the work.
4. Draw children’s attention to the linguistic style of the work and the author’s techniques for presenting the text. At 6-7 years old ( preparatory group) preschoolers begin to comprehend works not only at the level of establishing cause-and-effect relationships, but also understand emotional overtones. Children see not only the various actions of the hero, but also highlight pronounced external feelings. The emotional relationship with the characters becomes more complicated. It depends not on a single bright act, but from taking into account all the actions throughout the plot. Children can not only empathize with the hero, but also consider events from the point of view of the author of the work. Tasks:
1. Enrich literary experience preschoolers.
2. Develop the ability to see author's position in the work.
3. Help children comprehend not only the actions of the heroes, but also penetrate into their inner world, see the hidden motives of their actions.
4. To promote the ability to see the semantic and emotional role of a word in a work. Knowing the age-related characteristics of children’s perception of a literary work will allow the teacher develop the content of literary education and on its basis to implement the tasks of the educational field "Speech development".