Children's literature its subject and specificity. Main features of children's literature. Artistic criteria for children's literature. World children's classics interpreted by Russian artists, playwrights, and film directors. Fairy tale as a genre of children's folklore. M

O.Yu. Trykova

If the path, cutting through your father's sword,
You've wrapped salty tears around your mustache,
If in a hot battle you experienced what it costs -
This means you read the right books as a child.

This quote from “The Ballad of Struggle” by V.S. Vysotsky perfectly defines what a real children’s book should be.

Literary studies have long identified its main functions, but nevertheless, many of them are still either forgotten or ignored by adults (is this the reason for the fading of children's interest in reading?). So, one of the most importantfunctions of children's literature. is an entertainment function

Without it, all the others are unthinkable: if a child is not interested, he cannot be developed, educated, etc. It is no coincidence that scientists have recently begun to talk about the hedonistic role of a book - it should bring pleasure, pleasure...

All teachers rightfully consider the educational function to be one of the most important.

“What can we do to prevent the pink baby from becoming a Stoeros cudgel?” – V. Berestov asked at one time. Of course, read him the “right books”! After all, they contain the “alphabet of morality”; from them, in many ways, the child learns “what is good and what is bad” (V. Mayakovsky). And at the same time, as M. Voloshin paradoxically noted, “the meaning of education is to protect adults from children”(!). function of children's literature: a book should instill true artistic taste; the child must be introduced to the best examples of the art of words. In Soviet times, this function was often sacrificed to ideology, when schoolchildren and even preschoolers were forced to memorize aesthetically monstrous but “ideologically correct” poems about the party and October, read unimaginative stories about Lenin, etc. On the other hand, familiarizing only with the best, in the opinion of adults, examples of classical literature often violates the principle of accessibility, and as a result, the child retains a hostile attitude towards the classics for the rest of his life...

And in this case, the role of an adult is undoubtedly enormous; it is he who is able to play the role of a guide in a child’s comprehension of the treasures of world and domestic literature (even those not originally intended for reading). An example of such subtle and emotional mediation was perfectly shown by D. Samoilov in the poem “From Childhood”:

I am small, my throat is sore.
Snow is falling outside the windows.
And dad sings to me: “As it is now
The prophetic Oleg is getting ready...”
I listen to the song and cry
Sobbing in the pillow soul,
And I hide my shameful tears,
And on and on I ask.
Autumn fly apartment
It hums drowsily behind the wall.
And I cry over the frailty of the world
I, small, stupid, sick.

Childhood impressions are the strongest, the most important, it is no coincidence that even S. Dali wrote: “Dead mice, rotten hedgehogs of my childhood, I am turning to you! Thank you! For without you I would hardly have become the Great Dali.”

At the same time, it is important reverse process: by reading children's literature, adults begin to better understand children, their problems and interests.
“Sometimes she helps adults find the forgotten child within themselves.”

(M. Boroditskaya). There is no doubt educational

function of children's literature: scientists have found that up to the age of seven a person receives 70% of knowledge and only 30% for the rest of his life! In relation to fiction, the cognitive function is divided into two aspects: firstly, there is a special genre of scientific and artistic prose, where children are presented with certain knowledge in a literary form (for example, the natural history tale of V. Bianchi). Secondly, works, even those that do not have a cognitive orientation, help expand the child’s range of knowledge about the world, nature and man. in a children's book. Thus, for preschool children, the volume of illustrations should be at least 75%. It is no coincidence that Alice L. Carroll said: “What is the use of a book if there are no pictures or conversations in it?” One of the leading types of memory is visual, and the appearance of a book has been firmly connected with its content since childhood (for example, it is difficult to imagine “The Adventures of Buratino” by A. Tolstoy or “The Wizard of the Emerald City” by A. Volkov without illustrations by L. Vladimirsky). Even an adult reader, not to mention children, begins to get acquainted with a book precisely from its external design (which is now often abused by commercial book publishers, who strive to compensate for the wretchedness of the content with the brightness of the cover).

When working with a children's book, one cannot help but take into account psychological characteristics perception of children's (and not only children's) literature.

This identification- identifying oneself with a literary hero.

This This is especially characteristic of adolescence, but not only: we see a unique example of identification, for example, in the finale of I. Surikov’s poem “Childhood.” escapism

- escape into the imaginary world of a book. Actively condemned in the era of socialism (“why go into an imaginary world when you have to live in the real one, building socialism or communism?!”), he received a completely different assessment in the statement of J.P.P. Tolkien: “Should we despise a man who escapes from prison?” to return home? Or someone who, unable to escape, thinks and talks about something not related to prison and jailers? By adding to his real world the world of the books he has read, the reader thereby enriches his life, his spiritual experience. Fans of fantasy literature, and in particular J.P.P. Tolkien, are especially prone to escapism: organizing “hobbit games,” distributing roles, making swords and chain mail, they often become so deeply immersed in this world that it is not easy to return to the real one (because , alas, cases of suicide among Tolkienists are not uncommon). So, here, too, in many respects you need to know when to stop, so as not to completely overplay yourself. A huge role in the selection and perception of fiction is played by its compensatory
about a miracle, they choose fairy tales first, then fantasy and science fiction. Women, tormented by everyday life, children and family, reading women's romance novels, identify themselves with the heroine, satisfy the dream
about the “charming prince”, a bright and happy ending (despite the stereotyped plot, images, etc.).

Thus, through literature, a person gets what is missing in life and thereby also enriches it!
The orientation of the individual affects the selection of books of certain genres: young people, aspiring

into the future, prefers science fiction; people of the older generation, on the contrary, read books about the past, historical genres, memoirs, etc.

Returning to children's literature, it should be noted that traditionally it is divided into children's literature proper (books written specifically for children) and children's reading, including works that were not initially addressed to children, but included in the circle of children's reading (fairy tales by A.S. Pushkin, books by J.P.P. Tolkien).

Is there a reverse process? Among the books addressed to children, we can name at least two that have become a fact of adult culture, a source of inspiration, a subject of research and debate. These are “Alice in Wonderland” by L. Carroll (a classic example) and the Harry Potter books by J. K. Rowling (a modern example).

I would like to say a little more about the phenomenon of the latter’s success. The first of the novels, “Harry Potter and the Philosopher’s Stone,” is built, but essentially, according to the same pattern as the legendary “Cinderella”: an orphan, offended by everyone, humiliated, living in a dark closet and wearing cast-offs from his “native child,” becomes “ intelligent and great,” learning about his kinship with wizards, entering Hogwarts school, etc.
Both plots are based on an initiation rite, a test for the truth of the positive qualities that lies

the basis of many works of art. But with this archetypal property, which, in our opinion, ensured in many respects the success of the work, it is impossible not to note significant differences: if Cinderella-Cendrillon only uses magic spells to achieve completely earthly goals, then Harry himself is studying to be a wizard, that is, he takes a position much more more active. One way or another, it was the initiation complex underlying the Harry Potter books that contributed greatly to the worldwide success of J.K. Rowling's works.

So, an appeal to archetype images plus clearly calculated advertising is, in our opinion, one of the main components of the success of a modern world bestseller, even called “Pottermania.”

One can only wish that modern domestic authors would use these features just as competently in order to achieve success no less than J.K. Rowling’s bestseller about Harry Potter...

Children's book: its general and specific properties

The specificity of children's literature exists and its roots lie in the peculiarities of children's perception of reality, which is qualitatively different from the perception of an adult. The peculiarities of children's perception, its typological age-related qualities stem (as evidenced by the works of L. S. Vagotsky, A. T. Parfenov, B. M. Sarnov and the author’s own observations) from the originality of anthropological forms of children’s consciousness, which depend not only on psychophysiological factors, but also from the social characteristics of childhood.

A child is a social person, but the social basis on which his social consciousness develops differs from the social basis of the consciousness of a mature person: adults are direct members of the social environment, and in the child’s relationship with social reality, an adult mediator plays an important role. The fact is that a significant number of vital functions of the younger generation are satisfied, formed and stimulated by adults, and this leaves a specific stamp on both the indirect and direct experience of the younger generation. The older the child, the more independent he is in social relations, the less social specifics of childhood are in his situation.

The younger the reader’s age, the more clearly the age specificity is manifested, the more specific the work is for children, and vice versa: as readers mature, the specific features of childhood disappear, and the specificity of children’s literature also fades away. But childhood does not remain unchanged: it changes along with changes in the social environment and reality. The boundaries of age stages are shifting, so age specificity cannot be considered as something given once and for all and forever frozen. In today's world of rapid technological progress and ever-increasing information, childhood acceleration is taking place before our eyes. Changes in age specifics naturally lead to changes in the characteristics of children's literature: it matures. But childhood exists, there are age specificities, which means there are specifics of children’s literature.

According to L. Kassil, the specificity of a children's book is taking into account the reader's age-related abilities to understand and, in accordance with this, a prudent choice of artistic means. L. Kassil is supported and even repeated by I. Motyashov: “The whole question of so-called age specificity, since the time of Belinsky, has been reduced to the style of children's works; it should be presented “in accordance with children’s perception, accessible, vivid, imaginative, exciting, colorful, emotional, simple, clear.” But all of the listed features of the style of a children's work are also necessary in a work for adults.

The specificity of a children's work lies not only in the form, but above all in the content, in a special reflection of reality. For children, “the objects are the same as for adults,” but the approach to the phenomena of reality, due to the peculiarities of the child’s worldview, is selective: what is closer to the child’s inner world is seen in close-up, what is interesting to an adult, but less close to the child’s soul, is seen as if at a distance.

A children's writer depicts the same reality as an “adult”, but brings to the fore what the child sees in close-up. Changing the angle of view on reality leads to a shift in emphasis in the content of the work, and the need for special stylistic techniques arises. It is not enough for a children’s writer to know the aesthetic ideas of children, their psychology, the peculiarities of children’s worldview at various age stages, it is not enough to have “childhood memory.” He is required to have high artistic skill and a natural ability as an adult, having deeply known the world, to see it every time from a child’s point of view, but at the same time not to remain captive of the child’s worldview, but to always be ahead of it in order to lead the reader along.

The specificity of a children's work, its form and content, is manifested primarily in its genre originality. In fact, all the genres that exist in “adult” literature also exist in children’s literature: novel, story, short story, short story, essay, etc. But the difference between the identical genres of “adult” and children’s literature is also obvious. It is explained by the difference in genre-forming elements, a difference that is due to a specific orientation towards reader perception. All genre-forming elements of the work for children are specific.

Children's literature also introduces the child to the natural world, awakening in him “the precious ability to empathize, sympathize, and rejoice, without which a person is not a person” (K. Chukovsky). But the child does not have a worldview (it is just beginning to form), there is no philosophical understanding of the phenomena of reality, therefore the content of the landscape of the work for children expresses the emotional, sensually alive and aesthetic attitude of the child to nature. In terms of volume, landscape sketches are much smaller than in works for adults; their syntax is simpler and easier.

Children tend to animate objects, to endow them with human qualities, hence the abundance of personification in the story “Kandaur Boys”. “The clouds crawled and crawled, the taiga indifferently swallowed them, and they kept climbing,” “birch trees settled closely on the edge of the ravine, tickling each other with their branches.”

It also seems appropriate to talk about the age specifics of children’s literature and distinguish several groups based on the age of the reader:

books for little ones,

books for children 4-7 years old,

literature for primary schoolchildren,

works for teenagers.

Books for the little ones. The first children's books introduce the child to new objects of the surrounding world and help the development of speech. They enter the life of a child who cannot yet read and is just beginning to speak. The “Reading with Mom” series, for example, is designed for children aged 1 year and older and includes cardboard books with bright illustrations depicting animals unfamiliar to the child. Such a picture is accompanied either simply by the name of the animal, which the child gradually remembers, or by a short poem that gives an idea of ​​who is depicted in the picture.

Writing such, at first glance, extremely simple poems requires the author to have almost masterful command of words, because literature for the little ones must solve several difficult problems at once. Its specificity is determined by the fact that it deals with a person who knows almost nothing about the world around him and is not yet able to perceive complex information. Therefore, in a small volume - often just one quatrain - you need to fit the maximum knowledge, while the words must be extremely specific, simple, the sentences must be short and correct, because by listening to these verses, the child learns to speak.

At the same time, the poem should give the little reader a vivid image, point out the characteristic features of the object or phenomenon being described. It is no coincidence that the best children's poems, heard by a person at a very early age, often remain in memory for a lifetime and become the first experience of communication with the art of words for his children. As an example, we can name the poems of S. Ya. Marshak, the poems of A. Barto and K. Chukovsky.

Another characteristic feature of literature for the youngest is the predominance of poetic works. This is not accidental: the child’s mind is already familiar with rhythm and rhyme - let’s remember lullabies and nursery rhymes - and therefore it is easier to perceive information in this form. In addition, a rhythmically organized text gives the little reader a holistic, complete image and appeals to his syncretic perception of the world, characteristic of early forms of thinking.

Features of literature for preschoolers. After three years, the reading range changes somewhat: gradually the simplest books with short poems fade into the background, they are replaced by more complex poems based on game plots, for example, “Carousel” or “Circus” by S. Marshak. The range of topics naturally expands along with the horizons of the little reader: the child continues to get acquainted with new phenomena of the world around him, and books help him in this.

Of particular interest to growing readers with their rich imagination is everything unusual, so poetic fairy tales become a favorite genre of preschoolers: children “from two to five” are easily transported into a fictional world and get used to the proposed game situation. The best example of such books are still the fairy tales of K. Chukovsky: in a playful form, in a language accessible and understandable to children, they talk about complex categories, about how the world works in which a little person will live. At the same time, preschoolers, as a rule, become acquainted with folk tales, first these are tales about animals, later fairy tales with complex plot twists, with transformations and journeys and an invariable happy ending, the victory of good over evil. Thus, literature for older preschoolers not only introduces readers to events and phenomena of the world around them, but also shapes them. first ethical ideas.

Literature for younger schoolchildren. The specificity of literature for younger schoolchildren is determined by the growth of consciousness and the expansion of the range of interests of readers. Yesterday's preschoolers become students; they become even more active in exploring the world around them. Works for children aged seven to ten years are saturated with new information of a more complex order, in connection with this their volume increases, the plots become more complex, and new topics appear. Poetic tales are being replaced by fairy tales, stories about nature, and about school life. Their heroes are usually the readers' peers; these books tell about the world in which the life of a little person takes place.

At the same time, the young reader is also interested in what is happening in the big world, so all kinds of children's encyclopedias are addressed to him, presenting new knowledge in an entertaining way. In general, entertainment remains the main feature of literature for children of primary school age: they have recently learned to read, reading for them is still work, and making it interesting is one of the author’s tasks.

Hence dynamic plots, travel plots and adventure plots, eventful, and the means of characterizing the hero is often not description, but dialogue. But at the same time, the little person’s value system begins to form, so entertainment is combined with an increase in the didactic element: the work is structured in such a way as to lead the reader to the conclusion of what is possible and what is not, what is good and what is bad.

So, we can talk about the specificity of children's literature on the basis that it deals with the emerging consciousness and accompanies the reader during a period of intense spiritual growth. Among the main features of children's literature are informational and emotional richness, entertaining form and a unique combination of didactic and artistic components.

List of sources used

Arzamastseva, I. N. Children's literature / I. N. Arzamastseva, S. A. Nikolaeva. – M.: Academy, 2010. – 472 pp.

1. Zdir, V. Specificity of children's literature / V. Zdir. - [Electronic resource]. - Access mode:.

– 138 p.

CHILDREN'S LITERATURE

INTRODUCTION

Lecture 1. The concept of children's literature. Its specificity.

Children's literature is a unique area of ​​general literature. Principles. Specifics of children's literature.

Children's literature is part of general literature, possessing all its inherent properties, while being focused on the interests of child readers and therefore distinguished by artistic specificity, adequate to child psychology. Functional types of children's literature include educational and cognitive, ethical, and entertaining works.

Children's literature, as part of general literature, is the art of words. A.M. Gorky called children's literature " sovereign"the area of ​​all our literature. And although the principles, objectives, and artistic method of literature for adults and children’s literature are the same, the latter is characterized only by its inherent features, which can conventionally be called the specificity of children’s literature.

Her peculiarities determined by educational objectives and the age of the readers. Main distinguishing feature her - organic fusion of art with the requirements of pedagogy. Pedagogical requirements mean, in particular, taking into account the interests, cognitive abilities and age characteristics of children.

The founders of the theory of children's literature - outstanding writers, critics and teachers - once spoke about the features of children's literature as the art of words. They understood that Children's literature is true art, and not a means of didactics. According to V. G. Belinsky, literature for children must be distinguished by the “artistic truth of creation,” that is, to be a phenomenon of art, A children's book authors must be widely educated people standing at the level of advanced science of their time and having an “enlightened view of objects.”

The purpose of children's literature is to be artistic and educational reading for a child.. This purpose determines the important functions that it is called upon to perform in society:

1. Children's literature, like literature in general, belongs to the field of the art of words. This determines its aesthetic function. It is associated with a special kind of emotions that arise when reading literary works. Children are capable of experiencing aesthetic pleasure from what they read no less than adults. The child happily immerses himself in the fantasy world of fairy tales and adventures, empathizes with the characters, feels the poetic rhythm, and enjoys sound and verbal play. Children understand humor and jokes well. Not realizing the conventions of the artistic world created by the author, children fervently believe in what is happening, but such faith is the true triumph of literary fiction. We enter the world of the game, where we are simultaneously aware of its conventions and believe in its reality.

2. Cognitive(epistemological) function literature is to introduce the reader to the world of people and phenomena. Even in those cases when the writer takes a child into the world of the impossible, he talks about the laws of human life, about people and their characters. This is done through artistic images that have a high degree of generalization. They allow the reader to see the natural, typical, universal in a single fact, event or character.

3. Moral(educational) function inherent in all literature, since literature comprehends and illuminates the world in accordance with certain values. We are talking about both universal and universal values, and local ones associated with a specific time and specific culture.

4. Since its inception, children's literature has served didactic function. The purpose of literature is to introduce the reader to the universal values ​​of human existence.

The functions of children's literature determine its importance role in society - develop and educate children through the means of artistic expression. This means that literature for children largely depends on the ideological, religious, and pedagogical attitudes existing in society.

Talking about age specificity of children's literature Several groups can be distinguished based on the age of the reader. The classification of literature for children follows the generally accepted age stages of human personality development:

1) nursery, junior preschool age, when children, listening and looking at books, master various works of literature;

2) pre-preschool age, when children begin to master literacy and reading techniques, but, as a rule, for the most part remain listeners to works of literature, willingly looking at and commenting on drawings and text;

3) younger schoolchildren - 6-8, 9-10 years old;

4) younger teenagers - 10-13 years old; 5) teenagers (adolescence) - 13-16 years old;

6) youth - 16-19 years old.

Books addressed to each of these groups have their own characteristics.

Specifics of literature for children is determined by the fact that it is dealing with a person who knows almost nothing about the world around him and is not yet able to perceive complex information.

For children of this age, there are picture books, toy books, folding books, panorama books, coloring books... Literary material for children - poems and fairy tales, riddles, jokes, songs, tongue twisters. The “Reading with Mom” series, for example, is designed for children aged 1 year and older and includes cardboard books with bright illustrations depicting animals unfamiliar to the child. Such a picture is accompanied either simply by the name of the animal, which the child gradually remembers, or by a short poem that gives an idea of ​​who is depicted in the picture. In a small volume - often only one quatrain - you need to fit maximum knowledge , wherein words must be extremely specific, simple, offers - short and correct, because listening to these poems, child learns to speak . At the same time, the poem should give the little reader bright image , indicate on characteristic features

the described object or phenomenon. Therefore, writing such, at first glance, extremely simple poems, requires the author to have almost masterful command of words

, so that poems for the little ones can solve all these difficult problems. It is no coincidence that the best children's poems, heard by a person at a very early age, often remain in memory for a lifetime and become the first experience of communication with the art of words for his children. As an example, we can name the poems of S. Ya. Marshak “Children in a Cage”, the poems of A. Barto and K. Chukovsky. - Another characteristic feature of literature for children predominance of poetic works

Literature for children has its own specifics, but it is also subject to the laws that apply to literature in general. Polyfunctionality is inherent in the very nature of the word, however, different cultural and historical eras, out of many functions, put first one or the other. The peculiarity of our era, which is already called the era of the XX-XXI centuries, is that literature, as one of the oldest arts, is placed in extremely difficult conditions of survival by such powerful information systems as television and the computer with their seemingly unlimited capabilities of “machine”, mechanical creativity.

Teachers and leaders of children's reading, due to their social role, place first place educational And educational functions that have always been considered the fundamental basis of all teachings.“Study with pleasure” often seems to be nonsense, a combination of incompatible things, since next to the concept of “study” the word “work” appears by association, and with the word “pleasure” - “rest”, “idleness”. At the same time, those who insist on the paramount importance of the named functions believe that a teacher who defines priorities in this way takes care of the development in children of such properties as hard work. However, industriousness is also industrious because it presupposes a love of work. Is it possible a priori, without having “tried” a business, to love it? Love abstractly, theoretically? To kid? You can really want to learn what others already have. And become cold about it, because neither the process nor the result brings that pleasure which is expected. In fact, “learning with pleasure” is synonymous with “learning with passion.” The modern era forces teachers to reshuffle obvious and secret goals.

Let's ask ourselves a simple question: do we like being raised? Do they teach persistently? Almost such people do not occur in nature. Why then do we, writers, teachers and leaders of children’s reading in general, prioritize what is at least unpleasant for us, and at most causes rejection. It's not that the functions are outdated, that cannot be. It’s just that, when turning to reading with a child or teenager, we must take care of the conditions of psychological comfort, which is determined by age, psychophysical data, degree of social preparedness, inclinations, etc. The book, of course, teaches and educates, but this does not happen because the leader of the reading declares that why teaches and What educates - this happens organically and naturally, without special efforts from the teacher.

The time of imaginary overload of communication systems forces us to open in a fiction book for children interlocutor, co-author, seer of human thoughts. Update communicative functions will attract the child to the book, help him better understand himself, teach him to express his thoughts and feelings (and here the computer is not a rival). A teenager reading “Ivanhoe” by Walter Scott invariably experiences pleasure because he finds in the book answers to questions that sound in him, but in ordinary life he cannot find the answer to them. Someone, reading the stories of Lydia Charskaya or Anatoly Aleksin, will undergo psychological training in understanding oneself in difficult family circumstances, and having delved into the story “Barankin, be a man!” Valeria Medvedev, will begin to educate himself, without relying on others and without torturing them with his disobedience.

Undoubtedly, with the abundance of low-quality literature, the education of aesthetic taste, a sense of beauty, and an understanding of the true in literary literature is the task of classical children's literature. Aesthetic the function reveals the properties of literature as the art of words. The beauty of the world, the beauty and precision of the word that captures the surroundings, especially the awareness of the artistic value of the work, no matter what aspect of life it concerns, a syncretic value that is recognized by the mind, the heart, the feeling. The aesthetic inherent in the work resonates in the reader if this aesthetic feeling is developed in him, otherwise he is deprived of one of the possibilities of spiritual, emotional, moral and aesthetic pleasure.

Function hedonistic(pleasure, pleasure) enhances each of the above functions. Isolating it as independent forces reading leaders to fix in a work of art the components that make it possible to achieve a “heuristic” effect. Without taking into account the function of pleasure, the young reader becomes enslaved and over time turns away from this activity. French educator and writer Daniel Pennac explains to today's parents, teachers and children themselves how to love reading. If we prioritize the reader’s enjoyment of reading (which has nothing to do with the satisfaction of exclusively physiological instincts, which is often called for by the media) - and it is expressed both in the pleasure of the very process of reading and receiving answers to pressing questions, and in creating joyful acceptance of the world, and on the path to oneself, the best, together with the author and the heroes of the work, we will be able to solve almost all problems, regardless of what the director of children's reading would like to present as exclusively determining.

In connection with the above, one more function should be kept in mind - rhetorical, separating it from a communicative function into an independent one. When a child reads, he learns to enjoy the word and the work; he still unwittingly finds himself in the role of a co-author, a co-writer. The history of literature knows many examples of how impressions from reading in childhood aroused the gift of writing in future classicists. It is no coincidence that great teachers made the process of teaching literacy interdependent with children's writing. On the way from a read work to one’s own composition, colossal invisible work is done.

To summarize, we note that, like literary fiction that is not addressed to children, children's literature performs the following functions:

• - cognitive;
• - educational;
• - communicative;
• - aesthetic;
• - hedonistic;
• - rhetorical.

Mastering the content of a literary-artistic, or popular-science, or scientific-artistic work does not happen at once. The content of a work of art is complex: it contains socio-moral, socio-psychological, possibly legal or philosophical content; it can touch on private issues of the internal life of the individual and society, relationships between adults and children, teachers and students. However, these individual “contents” are not yet artistic content. A teacher, a policeman, a student can tell about the same life collision, but this story is not identical and not synonymous with what was written, for example, by A. A. Likhanov or V. II. Krapivin. Reading technically does not mean understanding the work in all its versatility and multifunctionality.

Thus, we can distinguish four main stages of getting to know the book.

• 1. Reading-comprehension.
• 2. Reading and reproduction, reproduction.
• 3. Reading and production according to the model.
• 4. Reading and creating original work.

Composition, writing is another motive for reading.

the main objective children's literature - to give the child a decent upbringing and education, to prepare him for adult life. K. D. Ushinsky believed that “education itself, if it wishes happiness to a person, should educate him not for happiness, but to prepare for the work of life,” that a child, by reading, must learn the basic rules of adult life and pacify his unbridled desires. A. Schopenhauer argued that a happy person is brought up by restrictions.

When it comes to education with books, it should be noted that when forming a reading circle for boys and girls, the natural dominant for them should be designated, which is different for both. We are not talking about creating two mutually exclusive lists of literature, but parents, educators, and literature teachers should cultivate reading taste and develop reading preferences, taking into account the coming “adult” life. “For women, wax is what copper is for a man: / We only get the lot in battles, / And they are given the opportunity to die, guessing,” Osip Mandelstam once aphoristically concluded. Boys prefer adventures, fantasy, historical stories, fictional battles, and girls prefer lyrical poems, fairy tales, melodramatic stories with a good ending. And this is natural. Literature is designed to educate a man to be strong and courageous, a defender of his loved ones and the Fatherland, and to educate a girl to be a wise woman, a mother, and a keeper of the family hearth.

The multifunctionality of children's literary literature makes it necessary to coordinate the goals of teaching this subject at a pedagogical university, and then project these goals onto the guidance of children's and youth's reading at home, in preschool institutions, primary schools, secondary schools and at graduation, in grades 10-11. In addition, the oblivion of all components of literature as the art of words sometimes leads to the “reinvention of the wheel”, when the genre principle in fiction for children is determined by one of the functions, taken out of the entire complex.

Children's literature at a university not only gives an idea of ​​the history of an extremely important department of world literature addressed to childhood (from early infancy to adolescence), it is also intended to give an idea of ​​the evolution of the most characteristic genre-style formations, thus outlining linear-concentric reading principle at all. A child turns to the same works as a preschooler, a schoolchild, and a young man, but the level of his reading abilities grows with him. Thus, as a child, he recognizes the famous work of R. Kipling as a fascinating children's book called “Mowgli”, but then he encounters it more than once in the form of “The Jungle Book” and begins to pay attention to places in the text that said little to his mind in the past. childhood, when he was completely absorbed in the amazing adventures of Mowgli. For example, this:

He grew up with the cubs, although they, of course, became full-grown wolves long before he was out of his infancy, and Father Wolf taught him his trade and explained everything that happened in the jungle. And therefore, every rustle in the grass, every blow of the warm night breeze, every cry of an owl overhead, every movement of a bat, catching its claws on a tree branch in flight, every splash of a small fish in the pond meant a lot to Mowgli. When he was not learning anything, he dozed, sitting in the sun, ate and fell asleep again. When he was hot and wanted to cool off, he swam in forest lakes; and when he wanted honey (from Baloo he learned that honey and nuts are as tasty as raw meat), he climbed a tree for it - Bagheera showed him how to do it. Bagheera stretched out on the branch and called:

Come here, Little Brother!

At first Mowgli clung to the branches like a sloth animal, and then he learned to jump from branch to branch almost as boldly as a gray monkey. On the Council Rock, when the Flock gathered, he also had his place. There he noticed that not a single wolf could withstand his gaze and lowered his eyes in front of him, and then, for fun, he began to stare at the wolves.

Here R. Kipling makes one of those observations that should be truly noticed and appreciated by an adult (or already growing up) reader, and not a child who loves and understands the event-adventure side of his narrative. Then for a while - again “narration for everyone”:

It happened that he pulled splinters out of the paws of his friends - wolves suffer greatly from thorns and burrs that dig into their skin. At night he went down from the hills to the cultivated fields and watched the people in the huts with curiosity, but did not feel trust in them. Bagheera showed him a square box with a drain door, so skillfully hidden in the thicket that Mowgli himself almost fell into it, and said that it was a trap. Most of all, he loved to go with Bagheera into the dark, hot depths of the forest, fall asleep there all day, and at night watch Bagheera hunt. She killed left and right when she was hungry. Mowgli did the same.

Then again follows a stroke, the symbolic depth of which the child may not yet realize, but the teenager or young man is already able to think about it:

But when the boy grew up and began to understand everything, Bagheera told him not to dare touch the livestock, because they paid a ransom to the Pack for him by killing a buffalo.

“The whole jungle is yours,” said Bagheera. “You can hunt any game that you can, but for the sake of that buffalo who bought you, you must not touch any cattle, neither young nor old.” This is the Law of the Jungle.

And Mowgli obeyed unquestioningly.

He grew and grew - strong, as a boy should grow, who learns everything he needs to know in passing, without even thinking that he is learning, and cares only about getting food for himself.

It is in places like these in a long-familiar book that a young man and an adult discover something new, beginning to see interesting also wise.

But already in childhood, such a linear-concentric approach, repeated reading of one text allows the child for the first time to draw an extremely important conclusion: a literary word, like a work, is a living organism, growing, opening to sensitive perception.

An artistic pedagogical book is a concept, on the one hand, basically synonymous with the concept of “children’s literature” (it is difficult to imagine a work written for a child, addressed to him and devoid of pedagogical - educational and educational - tendencies), but this concept and already the concept of “children’s literature” ", and broader, since a pedagogical book, albeit an artistic one, is addressed to two subjects of the pedagogical process: both the teacher and the child, both sides of upbringing and teaching, and puts the pedagogical meaning of the artistic whole at the forefront.

Without canceling what was said above, we add that children's literature cannot but strive to awaken in the child a thirst for discovering the vast world outside and, perhaps, the same cosmos within himself - moreover, it is called upon to awaken sense of native speech, which is perceived not only as something that allows you to satisfy the most primitive, or even not primitive, but pragmatic needs, as a means of achieving everyday comfort, but also as the Divine Verb, the path to the soul, word, possessing power, energy, a precious word that preserves the wisdom of the ancestors and reveals the incomprehensible secrets of the future hidden in it.

• Pennak D. Like a novel. M.: Samokat, 2013. (Daniel Pennak. Comme un roman. Paris, 1992.)
• Ushinsky K. D. Man as a subject of education. Experience of pedagogical anthropology. M.: ID Grand, 2004. P. 532.

LECTURES ON CHILDREN'S LITERATURE

SECTION 1. LITERATURE AS THE BASIS OF SPIRITUAL AND MORAL DEVELOPMENT OF PERSONALITY.

TOPICS 1.1. - 1.2. SPECIFICITY OF CHILDREN'S LITERATURE: ARTISTIC AND PEDAGOGICAL COMPONENTS. READING CIRCLE FOR PRESCHOOL CHILDREN.

Literature is an indispensable means of aesthetic education for a preschool child. Children's literature is a set of works created specifically for children, taking into account the psychophysiological characteristics of their development. There is an opinion among readers that children's literature is those works that a person reads three times in his life: as a child, becoming a parent and acquiring the status of a grandmother or grandfather.

Through children's literature, the emotional development of the preschooler and the development of all his cognitive processes and abilities are carried out. Against the backdrop of the ever-increasing influence of television and computer technology on little people, the importance of literature and children's reading is increasing. Aesthetic education of a child through literature involves the development of his artistic needs, emotions and feelings. It is during the preschool period that the child develops the prerequisites for the development of literary and artistic abilities.

In the preschooler’s perception of the world, his characteristic tendency to enliven his surroundings, to endow even inanimate objects with character and desires, is manifested. That is why he is so fascinated by the world of fiction. For a preschooler who has just begun to discover the world of a work of art, everything in it is new and unusual. He is a pioneer, and his perception is vivid and emotional. The sense of discovery, which is very important for creativity, is also manifested in the assimilation and use of artistic speech forms: verse (sound, rhythm, rhyme); lyric-epic forms; prose, etc.

Introducing a child to the best examples of children's literature contributes to the comprehensive and harmonious development of the individual. The teacher plays the leading role in introducing a child to literature in preschool education. Therefore, knowledge of children's literature is necessary for future teachers.

One of the features of children's literature is the unity of literary and pedagogical principles. Both writers and researchers, discussing the pedagogical, didactic essence of children's literature, pointed to the specificity of the text of a children's work, where there is a constant interchange of aesthetics and didactics.

The ability to correctly form a children's reading circle (CHR) is the basis of the professional activity of a speech therapist teacher. The library library depends on the age of the reader, his passions and preferences, on the state and level of development of the literature itself, on the state of the collections of public and family libraries. The starting points for the formation of the KDC are psychological, pedagogical, literary, historical and literary approaches or principles.

As you know, fiction plays a huge role in the upbringing and education of children. Even M. Gorky noted the role of art in shaping a person’s attitude to various phenomena of reality: “All art, consciously or unconsciously, sets itself the goal of awakening certain feelings in a person, instilling in him this or that attitude towards a given phenomenon of life.”

B.M. Teplov reveals the psychological essence of the educational impact of art (including fiction) as follows: “The educational significance of works of art lies in the fact that they provide an opportunity to enter “inside life,” to experience a piece of life reflected in the light of a certain worldview . And the most important thing is that in the process of this experience certain attitudes and moral assessments are created that have incomparably greater coercive power than assessments simply communicated or learned.”

This importance of art is especially great in the formation of feelings and relationships in children. But in order for a work of art to fulfill its educational role, it must be perceived accordingly. Therefore, studying the problem of perception of literary works is of undoubted interest.

There are a number of studies on this issue in the Russian psychological literature. Valuable material is contained in the works of O.I. Nikiforova, which examines general issues of the psychology of perception of works of fiction. The studies of T.V. Rubtsova, B.D. Priceman and O.E. Svertyuk are devoted to the analysis of the understanding of the psychology of a literary character by children of different ages. The study by L.S. Slavina, E.A. Bondarenko, M.S. Klevchenya examines the question of the influence of the characteristics of children of the corresponding age on their attitude towards literary characters.

A review of these and other psychological studies that examine the psychology of the perception of fiction by children of different ages shows that the subject of study was mainly questions of children’s understanding of a literary work and its characters. However, the perception of a work of art is not, in its essence, a purely cognitive act. A full perception of a work of art is not limited to understanding it. It is a complex process that certainly includes the emergence of one or another relationship, both to the work itself and to the reality that is depicted in it.

Let us consider in more detail the process of perceiving fiction. The perception of fiction is the result of a psychological mechanism based on physiological processes. The perception of fiction is holistic and at the same time extremely complex. Usually it occurs directly, and only in difficult cases do certain operations of imagination or mental action become conscious. Therefore, this process seems simple to us. It distinguishes the following aspects: direct perception of a work (recreation of its images and their experience), understanding of the ideological content, aesthetic evaluation and the influence of literature on people as a consequence of the perception of works.

All these aspects are interconnected, but at the same time their mechanisms differ from each other. Thus, understanding the ideological content depends on recreating the images of the work, but the mechanisms of these processes are opposite. The entire process of perceiving literary works at all its stages is of an aesthetic, evaluative nature, but the mechanism of evaluative evaluation has specific features. The influence of fiction on people is the result of all the processes mentioned, but in addition, it is determined by other factors.

There are three stages in the process of perceiving fiction:

1) direct perception, i.e. recreating the experience of images of a work. At this stage, the process of imagination is leading. With direct perception, when reading a work, mental processes take place, but they must be subordinated to the reconstruction of images and not suppress the emotionality of perception of the work. The fact is that the words of the text have conceptual meaning and figurative content.

When reading or listening to a work, certain images, especially when reading with interruptions, usually evoke certain thoughts in the child - such thoughts are natural and do not kill the emotionality of perception.

2) understanding the ideological content of the work. A full understanding of the idea is possible only by reading the entire work as a whole. At this stage, when perceiving a work, thinking becomes the leading one, but since it operates with what has been emotionally experienced, it does not kill the emotionality of perception, but deepens it.

3) the influence of fiction on the child’s personality as a result of the perception of works.

The process of cognition, whether it comes “from living contemplation to abstract thinking and from it to practice” or “by ascent from the abstract to the concrete,” is impossible without ideas, which are an intermediate stage of cognition, a link in the dialectical transition from the sensory level to the rational and back .

Any concept as an element of thinking is formed on the basis of ideas. The formation of ideas about the surrounding reality precedes the formation of a worldview. When answering questions, we are based on more or less realistic ideas and images about the object or phenomenon being studied. Therefore, we can say that ideas are the basis of all meaning. Views are among secondary images, which, unlike primary ones (sensation and perception), arise in consciousness in the absence of direct stimuli, which brings them closer to images of memory, imagination and visual-figurative thinking.

Usually under presentation understand the mental process of reflecting objects and phenomena of the surrounding reality in the form of generalized visual images, and by imagination– a mental process consisting in the creation of new images by processing the material of perceptions and ideas obtained in previous experience.

The representation product is image-representation, or a secondary sensory-visual image of objects and phenomena, preserved and reproduced in consciousness without the direct impact of the objects themselves on the senses. Representations are in a complex relationship with other mental processes. With sensation and perception, representation is related by the figurative, visual form of their existence. But sensation and perception always precede representation, which cannot arise out of nowhere. The representation is precisely the result of generalization of a number of essential features of an object.

Representations often act as standards. This circumstance brings them closer to the processes of identification. Identification presupposes the presence of at least two objects - real, perceived and reference. There is no such duality in ideas. Representations are often called memory images, because. in both cases there is a reproduction of a person’s past experience. Both of them belong to secondary images that arise without relying on direct perception. But the representation lacks the processes of memorization and preservation. In the process of remembering, a person is always aware of the connection with the past, but in addition to the past, the present and the future can be reflected in the idea.

Images of the imagination are very close to ideas. Imagination, like representation, uses material previously received by perception and stored by memory. Imagination is a creative process that develops over time, in which a storyline can often be traced. In representation, the object is more static: it is either motionless, or a limited number of manipulative operations are performed with it. Representation acts as a mechanism for recreating imagination. But besides this, there are also various forms of creative imagination that are not reducible to representation.

The degree of control a person has over the images of his imagination varies greatly. Therefore, there is a distinction between imagination arbitrary And involuntary. According to the methods of creating images, they also distinguish recreating And creative imagination.

The content of the direct perception of a literary work, in addition to representation, includes emotional and aesthetic experiences, as well as thoughts arising about what is perceived. The perception of fiction at all stages of reading a work is always holistic, despite the fact that the work itself is divided into elements located sequentially in time.

Another significant feature of the perception of fiction is the emotional and volitional experiences of children. There are three main types:

1) internal volitional actions and feelings for the heroes of a literary work. As a result of such assistance and empathy with the hero, the child comprehends the inner world of the hero of the work. Here, emotional-volitional processes are a means of emotional cognition of literary characters.

2) personal emotional-volitional reactions. They contain an element of direct aesthetic appreciation.

3) experiences and reactions that are caused by perception through the work by the personality of the author. The idea of ​​a writer gives rise to a certain emotionally active attitude towards him.

The first type is objective in nature, while the second and third are more subjective. All three types of emotional-volitional experiences coexist in the perception of a work and are interconnected. The mechanism of direct perception is very complex and consists of two parts: the mechanism of creative and emotional-volitional activity and the mechanism of figurative analysis of a literary text. They are internally connected.

The imagination does not immediately, not from the very beginning of reading a work, become creatively active and emotional. At first it works passively, then there is a sharp change in the nature of its work. In this regard, the perception of the work also changes qualitatively. Binet successfully called the moment of such a sharp change in the perception of the work and in the work of the imagination the entry into the text of the work.

The period of time for a person to reach the text of a work can be more or less long. This depends, first of all, on the features of the construction of the exhibition. The duration of the entry also depends on the readers themselves, on the degree of vividness and development of their imagination. At the beginning of the work and in its title, readers and viewers find guidelines that “direct” the creative activity of the imagination. O.I. Nikiforova identifies the following guidelines:

1. Orientation in the genre and general nature of the work.

2. Orientation in place and time of action.

3. Orientation to the main characters of the work.

4. Orientation in the emotional attitude of the author to the main characters of the work.

5. Orientation in the action of the work.

6. Orientation in the volume of the work.

7. Orientation in the figurative core of the work.

The mechanism of creative activity is formed by itself and very early, already at a young age, because it is nothing more than a mechanism for understanding the purposeful behavior of people and their relationships, transferred from ordinary life to the perception of literature. Figurative generalizations are formed in people in the process of their life and reading fiction. The mechanism of figurative analysis of a literary text is not formed by itself in the process of life; it needs to be specially formed and this requires certain efforts on the part of children.

The completeness and artistry of the perception of literature depends, in addition to the artistic merits of the works, on the reader’s ability to perform an imaginative analysis of a literary text. At the stage of direct perception of fiction, the main thing is analysis aimed at extracting the figurative content of works from the text.

Figurative analysis is the basis for a full-fledged artistic perception of literature. From the point of view of perception, the text of a literary work consists of figurative artistic sentences. The sentences are organized into relatively holistic, large elements of the work: descriptions of events, actions, appearance, etc. All major elements are in a certain relationship to each other and are synthesized into a single literary work.

The complex, multifaceted structure of a literary work also determines a multi-layered analysis of the text:

1) analysis of figurative sentences;

2) analysis of large elements in a literary text;

3) analysis of techniques for depicting literary characters.

Let's figure out what it means to analyze figurative sentences. Understanding of individual words occurs instantly, but ideas associated with words arise only if you focus on them after the meanings of the words are realized. To understand colloquial speech and non-fiction texts, it is enough to analyze the meanings of words and their relationships; ideas associated with words are usually not needed. Therefore, people develop an attitude towards conceptual perception of speech.

The analysis of large elements in a literary text occurs according to a double grammatical scheme. The course of figurative analysis of sentences is determined by the contextual subject. Readers synthesize figurative details extracted from reading a large element into a whole complex idea based on their organization in space and time. The integrity and stability of ideas about complex images of a literary text is ensured by internal speech articulation.

Analysis of a literary text according to a grammatical scheme with a focus on images evokes figurative processes in readers, regulates them, and as a result they have an idea of ​​​​the images of the text. The material for recreating text images is past visual experience.

There is a peculiarity of the activity of the recreating imagination when reading and perceiving a literary text:

What occurs below the threshold of consciousness on a purely physiological level;

It is impossible to say how the performances turned out, so the impression of complete immediacy of the perception of fiction is created.

This immediacy of perception of fiction is not innate, but developed, mediated by the acquisition of skills in figurative analysis of a literary text and the formation of an attitude towards figurative processes. Analysis of techniques for depicting literary characters is the selection of characters from the text, attributing descriptions to a literary character and extracting from them everything that, one way or another, characterizes this or that character.

When reading a work, identifying a literary character always occurs by itself, but isolating depiction techniques and attributing them to a literary character presents certain difficulties, and the degree of this difficulty depends on the characteristics of the techniques.

The purpose of figurative analysis is to evoke and regulate figurative processes of imagination in readers.

Let's consider the conditions for understanding literary works:

1.Full direct perception of the work. Correct reconstruction of images and their experience.

2. The essence of the artistic idea.

3. An attitude towards understanding the idea and the need to think about the work.

Under no circumstances do young children perceive the idea of ​​a work, even if, as happens in fables, it is directly formulated in the text. For children, a work is a special reality, interesting in itself, and not a generalization of reality. They are influenced by the emotional and aesthetic basis of the idea of ​​the work, they are “infected” by the author’s emotional attitude towards the characters, but do not generalize this attitude. They discuss only the actions of the heroes and precisely how the actions of these heroes and nothing more.

To work on ideological content, it is necessary to choose works that can have a personal meaning for children, and that when working on these works, it is especially important to reveal to them the personal meaning of the idea and the meaning of the works.

Aesthetic evaluations are a direct emotional experience of the aesthetic value of a perceived object and a judgment about its aesthetic value based on aesthetic emotion. The objective side of emotion is a reflection of the perceived object in a unique form of experience.

Criteria determining aesthetic assessments:

1.Criterion of imagery.

2. The criterion for the veracity of the images of the work.

3.Criterion of emotionality.

4.Criterion of novelty and originality.

5. Expressiveness criterion.

The ability to experience aesthetic pleasure from truly artistic works and to legitimately evaluate their artistic merit depends, first of all, on mastering the figurative analysis of an artistic text.

The main way to master the analysis of the features of works of art is an exercise in detailed comparison of works that are the same or similar in theme, differ in form, and in the interpretation of the theme. The impact of a literary work does not end with the end of reading. Influence is the result of interaction. The same work can have different effects on different people.

The influence of fiction on people is determined by its peculiarity - the fact that it is a generalized image of life. The images of the work reflect reality, as well as the experience of the writer, his worldview, and the artistic images of readers are recreated on the basis of their own lived experience.

Let's consider three types of readers' attitudes towards fiction:

1. Identification of literature with reality itself. The impact of fiction on children.

2.Understanding fiction as fiction.

3. Attitude to fiction as a generalized image of reality. This is one of the essential conditions necessary for the transition of superficial feelings into deeper ones and influence on people.

There are no children who don’t like being read to. But sometimes some children, having learned to read, continue to interact with books in this way, while others do not. How to help your child fall in love with books? What can be done to make reading a necessity and a pleasure for him? The answer is clear: the future reader must be educated when he just begins to walk, when he learns about the world, when he experiences his first surprise from contact with the environment. Conventionally, in the process of becoming a reader, the following types of reading can be distinguished: indirect (reading aloud to a child), independent (reading by a child without the help of an adult) and creative reading (reading constructed as a process of creative development of the perceived work). But there is no need to consider the types of reading we have identified as stages in the development of a reader; they do not follow each other in a strict time sequence, but, gradually emerging in a child’s life, seem to complement each other, becoming pages of his reading biography.

The first type of reading that a child is introduced to is indirect reading. But this type of reading does not lose its importance even when the child begins to read on his own, and when he has already learned to read quite fluently. Therefore, it is important to read books to a child who is already familiar with the alphabet and who is just establishing his own relationship with the book.
The leading role belongs to the reader, that is, the adult, and the child acts as a listener. This allows an adult to control the reading process: maintain rhythm, vary the text (for example, insert a child’s name into poems about children), making it more accessible and understandable; read clearly and expressively; monitor the child's reaction. Reading aloud to a child is not an easy task. You cannot pronounce the text monotonously, you need to play it out, take your time, create images of the heroes of the work with your voice.
Reading aloud is somewhat different from independent reading as an adult - an intoxicating journey into the land of literary images, taking place in silence and tranquility, requiring solitude and complete immersion in the world of fantasy. The child does not sit still for a minute, he constantly asks some questions and is quickly distracted. An adult needs to be prepared to respond to questions, comments that suddenly arise during the course of the text, as well as such manifestations of his attitude towards what he read, such as crying, laughter, protest against the course of events set out in the text. Such reading, first of all, is communication (and only adults need to be reminded of this: for children this is already an immutable truth). This is your conversation with your child, this is a dialogue with the author of the work. And therefore, you should not give up reading aloud together, even when the child has learned to read on his own: you need to continue reading to him, read in turns, listen carefully to how he reads, and involve other family members in reading aloud.

Reading aloud is the most important means of building relationships between a child and an adult, but it becomes such only if a number of conditions are met. First, it is necessary not only to reproduce the text, i.e. pronounce it out loud, but also try to comprehend and understand it. Moreover, for an adult, this task is twofold: he finds something of his own in the text he reads, interprets it from the height of his own life experience, and at the same time tries to create a situation of understanding or emotional response for the child listening to him. G.-H. Andersen wrote about this phenomenon of the perception of children's literature by adults: “... I definitely decided to write fairy tales! Now I tell from my head, grab an idea for adults - and tell it for children, remembering that father and mother sometimes also listen and they need to be given food for thought!" A joint perception of a work of fiction, its comprehension should inevitably result in a discussion of what has been read: reading a fairy tale prompts us to reason about good and evil, familiarity with poetic works makes us think about the unlimited possibilities of language in conveying a wide variety of meanings and emotions. It is also important how the range of literature for indirect reading will be formed: what books we select for children, how diverse they are in subject matter, design, genre or mood. We must not allow books to be perceived only as entertainment or only as education. The world of fiction is very rich and colorful, there is a place for both serious conversation and fun games.

The next type of reading is independent. Actually, reading will not become independent soon, and at first a lot depends on the adult: on his ability to harmoniously combine attention and interest in the child’s first reading experiences with the previous habitual indirect reading aloud. The child himself determines how much his mother (father, grandmother, older sister or brother) reads to him, and how much he reads. The first attempts at reading should be accompanied by the gradual formation of the skill of writing letters and drawing them. For the young reader, it is more important to get acquainted with letters; his own reading is in many ways rather mechanical in nature: he is more interested in the purely technical side of the matter - how words are made from letters. Therefore, the expressive side of reading fiction (the ability to understand a text and pay attention to its artistic features) will remain the responsibility of an adult for a long time. Another important aspect of the issue of developing independent reading is determining the reading range of a child starting to read. When an adult reads a book, the child’s questions that arise during the reading are resolved immediately thanks to the presence of an adult who can answer them or explain something incomprehensible. How to select books that will be interesting and understandable to a 4-5-6 year old child? First, the child rereads books already known to him; children very often reread familiar books and simply leaf through them. The child does not stop developing, he simply relieves stress by communicating with old friends. During the period of formation of a child’s independent reading, it is very important to create additional conditions for his speech development, since his speech, which recently was only oral, has now acquired another form of existence - written. A variety of publications containing various puzzles, word problems and games can help with this.

The last type of reading we have identified will be creative reading, which is the main means of child development: the development of his speech, imagination, and ability to perceive fiction. It is not enough to read books to a child or create conditions for the formation of his independent reading circle. It is important to prepare the child to meet the world of fiction - the world of fiction, fantasy, embodied in verbal images. How to make the frozen sounds of a poem “come to life” in front of a child? There is only one answer: you need to teach him the creativity of the reader. It is necessary to begin the development of such creative abilities from the period of mediated reading and not to stop these exercises even during the period of formation of independent reading. But reader creativity is formed not only while reading books. A rich imagination is gradually “gathered” from a variety of impressions that remain with a little person from walks in the forest, from visiting a theater or exhibition, playing on the street and at home, observing animals, communicating with others, and experiences.

The writer creates the world with the power of imagination, counting on the further co-creation of his reader. The world of a small child is like a fantasy world, a fairy tale - you just need to try to see and hear it: see how two trees standing side by side “whisper”, how a saucepan looks like an astronaut’s helmet, hear a story told by an old suitcase, or the song of a stream. Creativity inspired by reading can be anything.

L. Tokmakova has wonderful words: “A children's book, with all its outward simplicity, is an extremely subtle and not superficial thing. Only the brilliant gaze of a child, only the wise patience of an adult, can reach its heights. Amazing art - a children's book! The craving for books, as we said above, appears in children, as a rule, in early childhood. Interest in a book arises because it gives the child the opportunity to act and gives pleasure both when looking at it, and when leafing through it, and when listening.

In addition, the book satisfies two simultaneous needs in the child: for the unchangeable, stable and for the new, unfamiliar. A book is a constant quantity. The child is a variable. The kid picks up a book at any time - but it is still the same. Self-testing and self-affirmation takes place. Children change not only annually, but also hourly - different moods and states, and now the “constant value” is revealed to them in a new way. The joy of discovery! But every child has his own favorite places in the book that he will always want to listen to and watch.

A book is also an opportunity to communicate with adults. Through their speech and intonation the plot, characters, and moods are perceived. You can worry together, have fun and be reliably protected from evil and terrible things. As the child grows up, the ways of working with a book change, and certain skills are acquired: looking, listening, leafing through, “reading,” reproducing previously heard text in accordance with the illustration. All this adds up to a “piggy bank” for the future reader. But in order for a reader to emerge capable of co-creation with the writer and illustrator, the help of an adult is needed.

In a correctional institution, teaching literature takes on special importance. Analysis of works of art develops children's coherent monologue speech, develops intonation, helps to practice the pronunciation side of speech, etc.