Formation of verbal creativity in children of senior preschool age. Verbal creativity of preschool children

Fantasy is a prerequisite for human creative activity, which is expressed in the construction of an image or visual model its results in cases where information is not required (pure fantasy) or is insufficient. An example of this can be disparate archival sources, on the basis of which the writer creates a complete work, supplementing possible connections through his own imagination, and also introducing, to the extent possible, a living impression of his talent.

The world of children's fantasy is huge and diverse. Without fantasy and imagination, science would not have developed in our country, and we would have remained in the Stone Age. The first visionary was a man who was able to see a digging stick in a simple stone and moved the entire civilization forward. And what about the Russian dreams of folk storytellers about a flying carpet and a self-propelled stove, embodied in the construction of a spaceship and a car? Without imagination modern schoolboy I would not have mastered a single subject, because I would not have been able to construct images in my head and operate with abstract concepts.

The development of fantasy in children occurs in preschool age, and its active development begins after 2.5-3 years, but until this age preparation is still underway. The extent to which a child’s imagination will be developed depends on the period of life he has lived from 1 to 3 years. At this time, kids are not yet playing, but studying the properties of objects, and close people should help with this.

The next stage of fantasy development lasts from 3 to 7 years, and at this age Her Majesty the Game is at the head. And it is through play that children develop attention, perception, memory, intelligence, and imagination. Here, in the development of imagination, role-playing games in which several people participate are important. Play should be treated very carefully, because it is considered the leading activity from the ages of 3 to 7 years.

The development of imagination in children also depends on the objects necessary for joint games. But the overabundance of toys in stores, which are very realistic today, unfortunately, prevent children from developing their imagination. Yes, these toys are attractive and beautiful, but they are not able to awaken the imagination due to the fact that they are “completely ready for use.” And parents complain that the baby quickly loses interest in them.

A child needs simplicity for imagination; for its development there must be semi-finished objects - sticks, pieces of paper, pieces of iron, pieces of matter, pebbles. Make it a rule once and for all not to throw away things that belong to him without the child’s knowledge. It wouldn’t even occur to you that a car without wheels is a “secret” device that can lie in a box for months, but the baby still remembers it and, if he doesn’t find it, he will be very upset.

Verbal creativity is one of the types children's creativity, which allows the child to demonstrate the level of his speech activity, the ability to creatively, expediently, and correctly use language in various situations of life. It is of great importance for the child as a means of cognition and self-knowledge, cultural acquisition, self-expression and self-realization.

In research, verbal creativity is defined as the artistic activity of children, which arose under the influence of works of art, as well as impressions from the surrounding life and is expressed in the creation of oral compositions.

The development of verbal creativity in preschoolers is an integral part of the overall development of their creative abilities in different types artistic activity and affects the cognitive and emotional-volitional spheres of the child.

The development of verbal creativity is carried out initially in speech activity, and is significantly enriched through subsequent inclusion in theatrical and visual activities: children’s speech becomes more expressive, figurative, and emotionally enriched. In addition, verbal creativity influences the development of various artistic abilities of the child: visual and theatrical (the ability to create a stage image that corresponds to the content of the performance, preparing scenery, costumes, etc.).

Work on the formation of verbal creativity is carried out on the basis of the development of the child’s artistic imagination, his communicative abilities and the development of all aspects of his speech (lexical, grammatical, phonetic).

The starting point for the development of verbal creativity is the formation of a holistic perception of literary works in the unity of their content and artistic form.

Using the method of contamination of various literary works develops the child’s imagination, the ability to create scenarios based on them and then stage performances.

The interrelation of different types of artistic activity of children (speech, visual, musical, theatrical) enriches the child’s creative abilities, helps to correlate the artistic image that arises as a result of the perception of works of art and the creation of their own compositions.

N. Kudykina notes that a large role in the development of children’s verbal creativity should be given to the targeted pedagogical influence of an adult, his educational leadership, organizing creative process child. Leadership is expressed in creating conditions for the formation of verbal creativity, in determining the leading, most effective methods, in finding various pedagogical techniques and in rationally combining them with the method used. Work is also needed in two main areas:

1) for the general enrichment of the child’s speech;

2) to improve speech in its aesthetic function, including verbal and non-verbal means expressiveness.

In work to enrich children's speech, the leading method is independent reproduction of the text from memory (retelling). To develop the expressive side of speech, it is necessary to create conditions that allow the child to express his emotions, feelings, and desires to speak publicly.

Modern research on this issue allows us to talk about the wide educational possibilities of theatrical activities. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and correctly posed questions force them to think, analyze, draw conclusions and generalizations. In the process of working on the expressiveness of characters’ remarks and their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of his speech and its intonation structure are improved. The role played, the lines spoken, confront the child with the need to express himself clearly, distinctly, and intelligibly. His dialogical speech and its grammatical structure improve.

In the temporary requirements for the content and methods of work in preschool educational institution a special section has been highlighted “Child development in theatrical activities”, the criteria of which emphasize that the teacher is obliged to:

Create conditions for the development of children's creative activity in theatrical activities (encourage performing creativity, develop the ability to act freely and relaxed when performing, encourage improvisation through facial expressions, expressive movements and intonations, etc.);

Introduce children to theatrical culture(introduce the structure of the theater, theatrical genres);

Ensure the relationship between theatrical and other activities in a single pedagogical process;

Create conditions for joint theatrical activities of children and adults.

The content of theatrical classes includes:

a) watching puppet shows and conversations about them;

b) dramatization games;

c) acting out various fairy tales and performances;

d) exercises to develop expressiveness of performance (verbal and non-verbal);

e) exercises for the social and emotional development of children.

It should be emphasized that theatrical classes must simultaneously perform cognitive, educational and developmental functions and in no way be reduced only to preparing performances. Their content, forms and methods of implementation should simultaneously contribute to the achievement of three main goals:

1. development of speech and theatrical performance skills;

2. creating an atmosphere of creativity;

3.social and emotional development of children.

Theatrical activities are the most effective means of developing verbal creativity in children of senior preschool age. Since the theatrical activity of children is a type of artistic activity, including the execution of one’s own or the author’s idea in dramatizations, dramatization games, and in productions of various types of theater. It is theatrical activity that makes it possible to most fully realize the main directions of work on the development of verbal creativity: public, most expressive independent reproduction of a previously perceived or composed text of a work of art by a child.

For the effective development of verbal creativity, as a type of children's creativity, conditions are necessary that are defined for the development of children's creativity as a whole. Accordingly, the process of developing verbal creativity in the theatrical activities of children of senior preschool age requires compliance with the following pedagogical conditions:

Selection of literary works, taking into account the possibility of stage embodiment of their content;

Conducting special creative tasks that develop children’s theatrical abilities (combining movements with expressive speech, facial expressions and gestures).

Mastering coherent oral speech, developing fantasy, imagination and the ability for literary creativity is the most important condition for high-quality preparation for school. An important part of this work is: the development of figurative speech, cultivating interest in artistic expression, and developing the ability to use means artistic expression in an independent statement. Achieving these goals is facilitated by whole line games and exercises, let's look at some of them.

Game "increase - decrease".

Here's a magic wand, it can increase or decrease anything you want. What would you like to increase and what would you like to decrease?

Here's how the children answer:

I would like to reduce winter and increase summer.

I would like to extend the weekend.

I want to enlarge raindrops to the size of a watermelon.

Let's complicate this game with additional questions:

What would you like to increase and what would you like to decrease? Why do you want to increase or decrease?

Children's answers:

I want to enlarge the candy to the size of a refrigerator so that I can cut off pieces with a knife.

Let your arms temporarily become so long that you can get an apple from a branch, or say hello through a window, or get a ball from the roof.

If the trees in the forest shrink to the size of grass, and the grass to the size of a matchstick, then it will be easy to look for mushrooms.

If it is difficult for a child to fantasize independently, offer to fantasize together and ask him supporting questions.

Game "Bring the Object to Life".

This game involves giving inanimate objects the abilities and qualities of living beings, namely: the ability to move, think, feel, breathe, grow, rejoice, reproduce, joke, smile.

What living creature would you turn a balloon into?

What are your shoes thinking?

Game "Gift".

Children stand in a circle. One is given a box with a bow in his hands and asked to give it to his neighbor with warm words: “I’m giving you a little bunny,” or “I’m giving you a little goat, his horns haven’t grown yet,” or “I’m giving you a big candy,” “There’s a cactus in the box, don't prick yourself."

Game "Change the character's character."

Come up with a fairy tale with such an incredible plot: the fox has become the most simple-minded in the forest, and all the animals are deceiving her.

Game "Zoo".

Participants in the game receive a picture each without showing them to each other. Everyone must describe their animal, without naming it, according to this plan:

1) appearance.

2) where does he live?

3) what does it eat?

Game "Different Eyes".

Describe the aquarium from the point of view of its owner, and then from the point of view of the fish that swims there and the owner’s cat.

Game "Describe the situation."

Participants in the game are given the same plot pictures. They are asked to describe the situation from the point of view of its different participants, whose interests may be opposing. For example, from the point of view of the fox and the hare, the bear and the bees.

Game "Come up with a sequel."

Read the beginning of the fairy tale and ask them to imagine how the events in the fairy tale will develop and how it will end.

Game "How lucky I am."

“How lucky I am,” says the sunflower, “I am like the sun.”

“How lucky I am,” says the potato, “I feed people.”

“How lucky I am,” says the birch tree, “they make fragrant brooms out of me.”

Game "Choose a metaphor."

Metaphor is the transfer of the properties of one object (phenomenon) to another based on a characteristic common to both objects. For example, “talk of waves”, “cold gaze”.

Explain what properties are transferred in the given metaphors and to whom.

Soft character. Cheeks are burning. Drowned in twos. Keep a tight rein. Turned green with anger. Annoying as a fly. Hardworking like a bee.

Game "Autobiography".

I will imagine myself as an object, thing or phenomenon and on its behalf I will tell the story. Listen carefully to me and, through leading questions, find out who or what I’m talking about.

“I am in every person’s house. Fragile, transparent. I die from a careless attitude, and it becomes dark not only in the soul... (light bulb).”

Game "Funny rhymes".

Match the words with rhymes.

Candle - stove; pipes - lips; racket - pipette; boots - pies, etc.

People say: “Without imagination there is no consideration.” Albert Einstein said that the ability to imagine is superior to knowledge, because he believed that without imagination it is impossible to make discoveries. A well-developed, bold, controlled imagination is an invaluable characteristic of original, out-of-the-box thinking.

Children subconsciously learn to think through play. We must take advantage of this and develop imagination and fantasy from the very beginning. early childhood. Let children “invent their own bicycles.” Anyone who did not invent bicycles as a child will not be able to invent anything at all. Fantasizing should be interesting. Remember that play is always immeasurably more productive if we use it to put the child in pleasant situations that allow him to perform heroic deeds and, while listening to a fairy tale, see his future as fulfilling and promising. Then, while enjoying the game, the child will quickly master the ability to fantasize, and then the ability to imagine, and then to think rationally.

Tatiana Kozlova
Features of the development of verbal creativity in children of senior preschool age

Preschool age called a period of intense development of creative child's capabilities. Becoming creative activities are considered in close connection with development of all mental processes and, above all, with development of creative imagination, suggesting novelty, uncertainty of the knowable situation and an unlimited variety of possible ways to resolve it.

There are different opinions about the sources of occurrence children's creativity. Some researchers believe creation the result of the child’s internal self-generating forces and that an adult should not interfere with his creative process. Others consider sources creativity surrounding life, art. The authors recognize the intuitiveness and originality of artistic children's creativity, but consider the reasonable influence of the teacher necessary.

A-priory, creativity is an activity, as a result of which a person creates something new, original, showing imagination, realizing his plan, independently finding the means to implement it. It is characterized by two main indicators: it must represent public value and provide completely new products.

Believed to be completely childish creation does not correspond to these indicators. It is the initial step in development of creative activity. Artistic creation child cannot be carried out without the participation of an adult who helps him create and takes on the functions of a critic and partly a creator. IN development of children's creative abilities education and training play a leading role. And only with the right pedagogical guidance and training creative the child's activity can reach a relatively high level.

Children's creative the activity has no artistic value for others, however, from a social and pedagogical point of view it is important for the child. Since in his creativity the child actively discovers new things about himself and himself.

Creative the activity meets the needs and capabilities of the child, accompanies him with emotional and intellectual activity, and ensures the formation ways of unified creative cognition.

One of the varieties children's creative activities is literary or verbal creativity.

Children's verbal creativity These are compositions and improvisations. This type of activity satisfying One of the most important needs of a child is self-expression.

Verbal creativity- most complex look creative child's activities. Element creativity available in any children's story. Therefore the term « creative stories» - conventional title for stories that children come up with themselves (plot, course of events, climax and denouement) . The child must independently come up with content (plot, imaginary characters, based on the topic and his past experience.

At the core verbal creativity lies the perception of works fiction, oral folk creativity in the unity of content and artistic form. Verbal creativity is considered as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in oral compositions.

A special role in the development of verbal creativity is given to the ability to compose a coherent statement. It is determined from the child whether he has experience in composing a story (fairy tale), whether he responds with a desire to the proposal to come up with an essay, whether he can logically construct a plot and structure it, what lexical means he will use in his statement. These indicators are criteria development of verbal creativity: ability to perceive works of fiction, development coherent monologue speech, creative essay.

IN development children's art there are three stages of creativity. At the first stage, experience is accumulated. On the second - the actual process of children's creativity, directly related to the emergence of the idea, to the search for artistic means. At the third stage, new products are created.

At the core creative storytelling is the process of processing and combining ideas that reflect reality, and the creation on this basis of new images, actions, situations that have not previously taken place in the child’s direct perception. The source of combinatorial activity of the imagination is the surrounding world. That's why creative activity depends on the richness and diversity of ideas and life experience child.

Studying features of the development of children's verbal creativity allows you to determine pedagogical conditions, promoting verbal creativity.

The personality of a teacher with professional skill, human charm, the ability to create, which has a positive impact on child's creativity.

Development imagination - a unique form of reflection of reality, which consists in the creation of new images and ideas based on existing ideas.

Development of observation skills.

Cultivating hard work.

In-class learning.

Complex problem solving development speeches in storytelling classes.

Enrichment and activation dictionary through definition words that help describe experiences, character traits characters; with the formation of new concepts, new dictionary and the ability to use existing resources words.

Skill tell children coherently, master the structure of a coherent statement, know the composition of the narrative and description.

Children's correct understanding of the task "come up with", that is, to create something new, to talk about something that actually did not exist.

Development poetic ear - ability to differentiate between genres, understanding them features, the ability to feel the components of an artistic form and realize their functional connection with the content.

Interaction of different types of artistic activities (music, painting, literature, theater).

The development of verbal creativity is possible, if at every lesson you introduce children with the content and artistic form of the work, draw their attention to figurative words and expressions, characterization, mood, character dialogues, description of the characters’ facial expressions and gestures.

This is what they are aimed at creative tasks : clarify understanding of the meaning of figurative words and expressions; include new ones in the story of the improvised dialogue (different) intonation; perform plastic sketches depicting the hero; come up with unusual endings to well-known fairy tales; connect plots of works of different genres; select synonyms, antonyms, definitions that characterize characters, their mood, state, actions and deeds; dramatization of the most interesting passages of works; development of stage skills, performance (repetition) replicas of heroes; drawing the setting and conditions in which the characters of the literary work acted; correlation of the content of the text with the nature of the musical work.

Thus, from the above it follows that creative speech activity, expressed in the creation of oral compositions, is successfully carried out in senior preschool age and under the influence of special training, important condition which is the choice of means.

32. The concept of verbal creativity.

LITERATURE Creativity expressed in words, both oral and written, verbal creativity. Theory of literature.

Artistic literary creativity and verbal folklore ( book.). Graceful With. (an obsolete name for fiction).

Literature and literature.

There is no need to make a strict distinction between these two terms, and one can almost always use both in the same way. If we still look for the difference in their meaning, then we will classify the first as written works, and the other as oral. It is more correct to talk about folk literature than about folk literature. The people carry out oral creativity: from generation to generation, fairy tales, songs, epics, proverbs pass from mouth to mouth - everything that can be united under the name of literature. "Literature" comes from the Latin word litera, which means letter, letter, inscription; It is already clear from this that literature is verbal creativity, imprinted and enshrined in writing. A combination like theory literature, more common than the combination theory literature ; This means that the concept of literature is broader than the concept of literature. And above both of them the concept of the word rises. Of course, not every word is literature: in order to become it, it must be artistic. But, on the other hand, the service word, the one we use and exchange with others in our community, the word useful, practical - it also has an element of artistry in it. That is why it is not easy to draw the line where the word ends and where literature begins. The very material from which literature is created is itself literary. In a certain sense, everyone who speaks is thereby already a wordsmith, a writer, because our words bear the imprint of creativity and represent phenomena of an artistic order: they are figurative, picturesque, sonorous. The gift of speech is the gift of literature. And yet, from the infinite number of words that have not echoed in time, but have left a mark in the memory of mankind, it is necessary, of course, to single out those that represent literature, literature, and art. Broadly speaking, literature is the totality of all works of human thought, enshrined in the word - whether oral or written; but usually when they say literature or literature , then before these nouns an adjective is implied artistic. And therefore, not every verbal monument deserves to be studied in a course on the history of literature: “The Tale of Igor’s Campaign” is literature, “The Teachings of Vladimir Monomakh” is not. Truth, term literature apply not only to works of art: there is also scientific literature, and you can hear such an expression as literature subject when they mean a list of books or articles devoted to a particular issue. It is interesting to note that the Russian word literature almost replaced by a foreign word literature : to such an extent the latter has entered the system of our speech and received the right of citizenship in it. They say: study literature; However, it has been preserved - teacher literature and several similar expressions. What literature prevails over literature, this is so understandable: after all, in our time it is not so much the people who create verbally, but the individual, - and personal, individual creativity hastens to express itself in writing, in print - in literature.

33.Cultural eras of primitiveness, the main characteristics of the Paleolithic and Mesolithic culture. The era of primitive culture is the longest in the history of mankind, and according to archaeological periodization (based on the material from which tools and weapons were made) includes the following main stages of development: Stone Age (40 thousand years - 4 thousand years BC. ) - Paleolithic, Mesolithic, Neolithic - characterized by primitive stone tools, the construction of the first boats, rock paintings, reliefs and round sculptures Hunting and gathering as a way of life of the Paleolithic by 12-8 thousand BC. e. are replaced by livestock breeding, a sedentary lifestyle, and the appearance of bows and arrows (Mesolithic). In the period from 9-4 thousand BC. e. in life primitive society cattle breeding and agriculture are being established, stone processing techniques are being improved; the Bronze Age (3-2 thousand BC) separated crafts from agriculture and led to the creation of the first class states; The Iron Age (1st millennium BC) accelerated the heterogeneous development of world culture. Features of the Paleolithic. Development is not uniform, which is largely influenced by climate change. One of the features of primitiveness is the low population size and density, because even in a resource-rich landscape, demographic capacity is limited. During this era, a developed communal system of life was created, in which the initial social molecule was a small family (5-6 people). Small families united, forming camps and settlements that could consist of 4-5 dwellings, located on an area of ​​700-1500 m2. They had one long-term focus. Near the dwelling there were production sites and utility pits. Prehistoric societies were socially homogeneous, and the main form of division of labor was the division of activities between men and women. The economic strategy of Paleolithic society was aimed mainly at hunting activities and the sustainability of food chains. There was selective hunting and seasonality of hunting cycles, as evidenced by multi-layered long-term sites (Kostenki on the Don is an excellent example of this) and many seasonal settlements. In the Franco-Cantabrian zone and on the Russian Plain, mammoths, woolly rhinoceroses, reindeer, and wild horses were hunted, but round-up hunting for mammoth dominated. In the Urals and the Caucasus, hunting for the cave bear prevailed, in Central Asia and Altai - for the mountain goat, in the steppe zone of Europe (for example, the Amvrosievka site near Donetsk in Ukraine) - roundup hunting for bison, similar to the Paleo-Indian hunting for bison in the south-west of the USA . The economic strategy also included gathering, focused on local plant species. For hunting, they used slingshots, spears and darts equipped with hard silicon tips, as well as various remote weapons - spear throwers and harpoons made of hard wood and bone. As noted, the dwellings were large, light and warm caves with powerful cultural layers. . The widespread use of mammoth bones in combination with wood and stone is characteristic of the entire periglacial zone of Eurasia. Upper Paleolithic houses had an oval or oblong shape; sometimes these were half-dugouts, covered with a frame of tusks, poles, skins; inside there were hearths lined with stone slabs, and around there were utility pits for storing tools, supplies of raw materials, food, etc. Light portable housing was practiced - bivouacs. At this time, there were specialized industries with a variety of and effective tools: large and small scrapers, cutters, stones for softening and polishing skins, bone piercings, needles with an eye, special “work tables” for kneading skins and belts, etc. The clothing complex included analogues of capes or cloaks. As for household utensils, these were wickerwork, wood, bone and stone utensils. The spiritual culture of Paleolithic society is characterized by a certain level of complexity. Researchers associate the presence of early forms of religion (magic, totemism, animism) with burial rituals of animals and people, with images of supernatural beings. An image of a “sorcerer” from the Trois Freres cave, a drawing of a bison man from the Chauvet cave in France, a bone figurine of a lion man from Holenstein Stadel in Germany. The art of that time was an organic part of a syncretic, undivided cultural complex, and not an independent sphere. The structure of the art world (morphology) included two main categories of monuments. This is colorful monumental art represented by paintings and engravings on cave walls, which are also called petroglyphs (drawings on stone). The second category is mobile art, or art of small forms (portable), represented by a wide range of bone carvings, engravings and drawings on pebbles, ornamented tiles, decorations and sculptural works. The main place in art was occupied by images of animals. The beast, apparently, was not only food for the people of that time, but also an ancestor, friend, enemy, victim and deity. Images of Paleolithic people were embodied primarily in sculptural works and, less commonly, in engravings on bone and antler. Plastic art consists mainly of female figurines, made mainly from mammoth tusks, and in some cases from stone and baked clay (terracotta)2. Figures of naked, curvaceous ladies emphasizing the genetic functions of the “sacral” nature of women are called “Paleolithic Venuses.” Images of men are extremely rare. Ornamental geometric art became widespread in Stone Age culture. It is found in all areas of the Upper Paleolithic ecumene, but is most characteristic of the Russian Plain and Siberia. Musical and dance art, recitation, probably arose neither earlier nor later than the visual and architectural arts. the existence of pantomime and round dances is confirmed by some cave paintings in Eurasia. Musical instruments (flutes and percussion instruments) have been found in a number of Paleolithic sites. Features of Mesolithic culture. During the Mesolithic period of prehistory, the glacier melted and retreated. Huge areas of the Earth were swallowed up by the waters of the world's oceans, the mammoth fauna and other species of large game animals disappeared, and the descendants of the Cro-Magnons lost their traditional habitats and hunting grounds. They survived one of the largest environmental disasters. The population size and density increased during this time; the intensification of the appropriating economy occurred; The use of natural resources has expanded, and methods of extracting them have acquired more diverse and sophisticated features. New hunting strategies were aimed at hunting mountain, forest and steppe ungulates (elk, deer, wild boar, goat, etc.), and therefore remote weapons - bows and arrows with flint tips - began to be widely and effectively used. A specialized marine fishery emerges on the sea coasts. A very important achievement in the sphere of economic culture was domestication - the domestication of wild animals (sheep, dogs, etc.). People move to open spaces, build half-dugouts and squat dwellings from local raw materials. the appearance of extraordinary dynamics in multi-figure images of animals. Along with animals, the compositions now include people - men and women. Male images are beginning to dominate in art. Most often - a group of archers hunting for a fleeing animal. All images are schematized, deformation appears in the image of the human figure, and the concreteness of “primitive naturalism” disappears. Geometric ornamentation in products made of stone, bone, wood, and clay is spreading in all regions of the world. In this time, shorter than in the Paleolithic, humanity accumulated strength for a new historical breakthrough in cultural achievements associated with the Neolithic revolution.

Verbal creativity of preschoolers The study of verbal creativity, the creative activity of a child, the search for ways to form it is one of the priority areas of modern pedagogical science in the 21st century.

creativity is an activity as a result of which a person creates something new, original, showing imagination, realizing his plan, independently finding the means to implement it. . two main indicators of creativity have been identified: 1. it must be of social value and 2. produce completely new products. According to psychologists,

Does children's creativity correspond to these indicators? The answer to this question is still controversial among researchers of this problem.

The huge role of creativity is determined by the fact that it opens up new values ​​of cognition, transformation, and experience for the child, which enrich his world and contribute to the manifestation of the creative qualities of the individual.

Verbal creativity of preschoolers is the activity of children that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems (O. S. Ushakova, A. E. Shibitskaya, M. V. Fadeeva, etc. .).

In pedagogical studies devoted to the problem of the formation of verbal creativity, it is proved that creative speech activity is successfully carried out in senior preschool age under the influence and as a result of special training, an important condition which becomes the choice of means (E. P. Korotkova, E. I. Tikheyeva, O. S. Ushakova, E. A. Flerina and others)

One of the most accessible and pedagogically effective means of developing creative speech skills in children is called folklore, a fairy tale (L. M. Pankratova, V. A. Sukhomlinsky, A. E. Shibitskaya).

There are 2 points of view on the process of children's creativity: 1. creativity is the result of the internal spontaneous forces of the child and an adult should not interfere with his creative process, as this leads to a lack of individual expression of personality. This is how a child copies an adult.

2. Others recognize the intuitiveness and originality of children's artistic creativity, but consider the reasonable influence of the teacher necessary. They recognize the need to create appropriate conditions for children to learn artistic experience, training in creative work techniques.

At stage 1, the role of the teacher is to organize life observations. Teach a figurative vision of the environment, i.e. perception that has an aesthetic coloring. It is important that children realize that some things can be changed and transformed.

Stage 2 is the actual process of children's creativity: the emergence of an idea, the search for artistic means. The role of the teacher is to create a joyful atmosphere full of interesting experiences and provide the inner need for self-expression in creativity. Particular attention should be paid to the child’s mastery of methods of sensory examination of objects. Help children master the simplest artistic means.

Stage 3 is the creation of new products. The child begins to be interested in the quality of the products of his creativity and experiences aesthetic pleasure, striving to give them completeness. But the experiences of preschoolers will be even more complete if he is convinced that his work is interesting not only to him, but also to those around him. Therefore, the analysis of children's products carried out by the teacher is so important.

Verbal creativity of preschoolers can manifest itself in the following forms: - word creation (in the narrow sense); - writing poems; - writing your own stories and fairy tales; - creative retellings of literary texts; - inventing riddles and fables.

signs of creative storytelling: - passion, engrossment in the activity; - the ability to modify, transform, combine existing ideas and create new images and situations based on them; - the ability to present an event in the sequence of its development, to establish dependencies between individual events; - use of appropriate linguistic means for the purpose of creating an image; - independence in the search for images and plot development; - variability, i.e. the ability to come up with several versions of essays on one topic.

When teaching storytelling, different types of creative essays are used: - coming up with a continuation and completion of a story, the beginning of which is reported by the teacher; - inventing a story (fairy tale) according to the teacher’s plan; - coming up with a story on a topic proposed by the teacher (without a plan); - inventing a story (fairy tale) on an independently chosen topic; - inventing stories (fairy tales) based on literary models.

Teaching methods: - joint compilation of a story with the teacher; - questions from the teacher (there should be few of them); - plan for the story; -repetition of the story plan; - drawing up a plan for children; - analysis and evaluation of stories.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru

MINISTRY OF EDUCATION, SCIENCE AND RF

FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER EDUCATION

"BASHKIR STATE UNIVERSITY" (BASHSU)

INSTITUTE OF LIFELONG EDUCATION

FINAL CERTIFICATIONJOB

On the topic of:“Formation of verbal creativity in children of senior preschool age”

Completed:

Retraining course attendee

"Pedagogy and psychology

preschool education"

Platonova Anna Yurievna

G. Ufa2016

Introduction

ChapterI. Theoretical foundations of the formation of verbal creativityamong older preschoolers in psychological and pedagogical literature

1.1 The concept of creativity, children's verbal creativity and the study of problems of its formation by psychologists and teachers

1.2 The concept of coherent speech, its main forms and characteristics of coherent statements

1.3 The fairy tale genre - as a factor in the development of children’s verbal creativity

Conclusions on Chapter I

ChapterII. Formation of verbal creativity in children of senior preschool age in the process of composing fairy tales

2.1 Studying the level of development of verbal creativity in children 5-6 years old

2.2 Formation of verbal creativity in the process of children composing fairy tales

Conclusions on Chapter II

Conclusion

Bibliography

INTRODUCTION

The relevance of research

Preschool age is a unique period when the foundations for all future human development are laid. That is why the main goal of education is comprehensive harmonious development personality.

Personal development is closely related to the formation of creativity, knowledge of the surrounding world and mastery of the native language.

The child learns to think creatively, improves his thinking by learning to create.

Currently, society is constantly in need of people who are able to think outside the box, act actively, and find original solutions to any life problems. All of the above qualities are characteristic of creative individuals.

Creativity itself is a complex type of activity and there are different trends regarding the nature of the emergence of children's creativity.

In some cases, creativity is considered as a result of the child’s internal emerging powers. The development of creativity comes down to a spontaneous moment. With this view, there is no need to teach children to draw and sculpt; they themselves strive for self-expression and freedom, creating compositions from strokes and spots. Supporters of this trend do not interfere in the process of developing a child’s artistic abilities.

In other cases, the source of children's creativity is sought in life itself, in appropriate pedagogical conditions, which are a guarantee of an active influence on the development of children's creativity. Proponents of this view believe that abilities are formed gradually, in the process active work children, taking into account the individual characteristics of the child. coherent speech verbal fairy tale creativity preschooler

Verbal creativity is part of the general development of creative abilities of preschoolers in various types of artistic activities:

Its formation is based on the perception of works of fiction, oral folk art in the unity of content and artistic form;

Familiarization with different genres of literary works, their specific features, the understanding of which is enhanced in visual and theatrical activities. Which contributes to the development of creative imagination.

In preschool age, creativity is manifested in various types of artistic activities (visual, musical, motor, play and speech).

A lot of scientifically based works and methods of honored teachers and psychologists are devoted to this: N.A. Vetlugina, L.S. Vygotsky, A.V. Zaporozhets, N.S. Karpinskaya, N.P. Sakulina, S.L. Rubinshtein and others. The work of practical teachers O.S. was devoted to the problem of the development of artistic expression. Ushakova, F.A. Sokhina, O.M. Dyachenko and others.

Many researchers (N.S. Karpinskaya, L.A. Penevskaya, R.I. Zhukovskaya, O.S. Ushakova, L.Ya. Pankratova, A.E. Shibitskaya) directed their efforts to study the nature of children’s creative manifestations in literary activities, as well as searching for ways to develop the child’s creative abilities. These studies have shown that the development of artistic creativity is closely related to the development of cognitive and personal characteristics of a preschool child. A folk tale plays a huge role in the development of creativity, which enriches the world of a child’s emotional experiences, helps him feel the artistic image and convey it in his writings.

A fairy tale for a child is not just a fiction, a fantasy, it is a special reality. Creating fairy tales is one of the most interesting types of verbal creativity for children.

The development of verbal creativity is a multi-complex, multifaceted process and depends, first of all, on the general speech development of children; The higher his level, the more freely the child manifests himself in composing fairy tales and stories.

Object of study: the process of developing creativity in children 5-6 years old.

Subject of study: verbal creativity of children 5-6 years old based on fairy tales.

Purpose of the study: studying the development of verbal creativity in children 5-6 years old, developing a sustainable interest in creativity in children.

Research objectives

1. Selection and study of psychological and pedagogical literature on the problem of developing verbal creativity in preschool children.

2. Study of the features of the content and artistic form of Russian folk tales and their perception by children.

Methodological basis research is the theory of the development of imagination and children's verbal creativity, formulated in the works of L.S. Vygotsky, N.A. Vetlugina, O.M. Dyachenko, N.P. Sakulina, as well as the works of psychologists and teachers on the problem of the development of coherent speech - O.S. Ushakova, S.L. Rubinshteina, F.A. Sokhina, A.V. Zaporozhets.

Research methods:

§ analysis of literature in the field of psychology and pedagogy,

§ pedagogical experiment,

§ conversations, observation of children,

§ analysis of children's creativity products.

Theoretical and practical significance of the work

The conducted research can be used when working on the development of coherent speech in children, as well as in the process of developing literate oral speech in children and cultivating interest in independent verbal creativity.

Organization of the study

The final certification work consists of an introduction, two chapters, a conclusion, and a list of references.

CHAPTERI. THEORETICAL FOUNDATIONS OF FORMATION OF VERBAL CREATIVITY IN SENIOR PRESCHOOL CHILDREN IN PSYCHOLOGICAL AND PEDAGOGICAL LITERATURE

1.1 The concept of creativity, children's verbal creativity and the study of problems of its formation by psychologists and teachers

An adult, raising a child, must subtly and tactfully support the child's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the learning of creativity, since creativity itself can only develop in individual individuals.

Issues of creativity, its development and manifestation in humans have worried the minds of outstanding people for many years in the formation of human history.

Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore it is so important, according to Aristotle, to teach children creativity, the ability to observe and understand people and their experiences from an early age. Proving that the imprint of the creator’s personality lies on his works, Aristotle not only gave examples of how different artists interpret the same subjects differently, but also proved the need to develop independence, activity and individuality when raising children, because otherwise, they will never become outstanding scientists and creators.

The nature of creativity is studied by philosophers, psychologists and teachers who study certain aspects of creative thinking and personality, based on the specifics of their sciences.

Thus, the philosophical dictionary gives the following definition of creativity: “Creativity is a process of human activity that creates qualitatively new material and spiritual values.” In philosophy, creativity is a person’s ability, arising through work, to create from the material provided by reality (based on the knowledge of the laws of the objective world) a new reality that satisfies diverse social needs. In the process of creativity, all the spiritual powers of a person take part, including imagination, as well as the mastery acquired in training and practice, necessary for the implementation of a creative plan.

In pedagogical science, creativity is defined as “an activity aimed at creating a socially significant product that has an impact on the transformation of the environment.”

The significance of a child’s creativity is limited to creating something new for himself, and this determines the significance of creativity for the formation of personality.

Characterizing the creativity of children, the famous didact I.Ya. Lerner identified the following features of creative activity:

1- independent transfer of previously acquired knowledge to a new situation;

2 - vision of a new function of an object (object);

3 - vision of the problem in a standard situation;

4 - vision of the structure of the object;

5 - ability to make alternative solutions;

6 - combining earlier known methods activities in the new one.

I. Ya. Lerner argues that creativity can be taught, but this teaching is special, it is not similar to how knowledge and skills are taught. At the same time, creativity is impossible without acquiring certain knowledge and mastering skills and abilities.

By creativity, according to teachers, we should understand the very process of creating images of a fairy tale, story, game, etc., as well as methods and ways of solving problems (visual, gaming, verbal, musical).

The psychology of creativity studies the process, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:

1 - as a mental process of creating something new,

2 - as a set of personality properties that ensure its inclusion in this process.

A necessary element of creativity and human creative activity is imagination. It is expressed in the mood of the image of the products of labor, ensures the creation of a behavior program in cases where problematic situation characterized by uncertainty.

Imagination, or fantasy, is one of the highest cognitive processes in which the specific human nature of activity is clearly revealed. Imagination allows you to imagine the result of a person’s work even before it begins.

Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections.

When characterizing imagination from the perspective of its mechanisms, it is necessary to emphasize that its essence is the process of transforming ideas, creating new images based on existing ones.

The synthesis of ideas in the processes of imagination is carried out in various forms:

§ agglutination - “gluing” of various parts, qualities;

§ hyperbolization - increasing or decreasing an object and changing the number of parts of an object or their displacement;

§ sharpening, emphasizing any features;

§ schematization - the ideas from which the fantasy image is constructed merge, differences are smoothed out, and similarities come to the fore;

§ typification - highlighting the essential, repeated in homogeneous facts and embodying them in a specific image.

In psychology, it is customary to distinguish between active and passive imagination. In the case when fantasy creates images that are not realized, outlines behavioral programs that are not implemented and often cannot be implemented, passive imagination manifests itself. It can be intentional or unintentional. Images of fantasy, deliberately evoked, but not associated with the will aimed at bringing them to life, are called dreams. Unintentional imagination manifests itself when the activity of consciousness, the second signaling system, is weakened, during temporary inactivity of a person, in a semi-asleep state, in a state of passion, in sleep (dreams), in pathological disorders of consciousness (hallucinations), etc.

Active imagination can be creative and re-creative. Imagination, which is based on the creation of images that correspond to the description, is called recreating. Creative imagination involves the independent creation of new images, which are realized in original and valuable products of activity. Originated in labor creative imagination remains an integral part of technical, artistic and any other creativity, taking the form of active and purposeful operation of visual representations in search of ways to satisfy needs.

In order to understand the psychological mechanism of imagination and related creative activity, it is necessary to clarify the connection that exists between fantasy and reality in human behavior. L.S. Vygotsky in his work “Imagination and Creativity in Childhood” identifies 4 forms of connection between imagination and reality.

The first form is that every creation of the imagination is always built from elements taken from reality and contained in man's previous experience. Imagination can create more and more degrees of combination, first combining the primary elements of reality, then secondarily combining fantasy images (mermaid, goblin, etc.). Here we can highlight the following pattern: “the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience is the material from which fantasy structures are created.”

The second form is more complex connection between the finished product of fantasy and some complex phenomenon of reality. This form of connection is only made possible through someone else's or social experience.

The third form is emotional connection. Fantasy images provide an internal language for a person’s feelings “This feeling selects elements of reality and combines them into a connection that is determined from within by our mood, and not from the outside, by the logic of these images themselves.” However, not only feelings influence imagination, but imagination also influences feeling. This influence can be called the “law of emotional reality of the imagination.”

The fourth form is that the construction of a fantasy can be something essentially new, which has not been in human experience and does not correspond to any really existing object. Having taken on material embodiment, this “crystallized” imagination becomes reality.

L.S. Vygotsky also describes in detail the psychological mechanism of creative imagination. This mechanism includes the selection of individual elements of an object, their change, the combination of changed elements into new holistic images, the systematization of these images and their “crystallization” in the subject embodiment.

O.M. Dyachenko identifies two types or two main directions in the development of imagination. Conventionally, they can be called “affective” and “cognitive” imagination. An analysis of the affective imagination can be found in the works of S. Freud and his followers, where it is indicated that imagination and creativity are an expression of unconscious conflicts that are directly related to the development of innate tendencies.

Cognitive imagination was studied by J. Piaget. In his research, imagination was associated with the development of symbolic function in a child and was considered as special shape representative thinking, which allows one to anticipate changes in reality.

O.M. Dyachenko characterizes these types of imagination and the stages of their development throughout preschool childhood.

Stage I - 2.5-3 years. There is a division of imagination into cognitive (the child, with the help of dolls, acts out some familiar actions and their possible options) and affective (the child acts out his experience).

Stage II - 4-5 years. The child learns social norms, rules and patterns of activity. Imagination involves a planning process that can be called stepwise. This, in turn, leads to the possibility of directed verbal creativity, when a child composes a fairy tale, stringing together events one after another. Cognitive imagination is associated with rapid development role playing game, drawing, designing. But without special guidance, it is mainly of a reproducing nature.

Stage III - 6-7 years. The child operates freely with basic patterns of behavior and activity.

Active imagination is also aimed at overcoming the received psycho-traumatic effects by repeatedly varying them in games, drawing and other creative activities. Cognitive imagination manifests itself in the child’s desire to look for techniques for conveying processed impressions.

It should also be emphasized that imagination, which is extremely important for the implementation and organization of activities, is itself formed in various types of activities and fades when the child stops acting. Throughout preschool childhood, there is a constant transformation of the child’s imagination from an activity that needs external support (primarily toys) into independent internal activity that allows for verbal (writing fairy tales, poems, stories) and artistic (drawings, crafts) creativity. The child’s imagination develops in connection with the acquisition of speech, and, consequently, in the process of communication with adults. Speech allows children to imagine objects they have never seen before.

Fantasy is an important condition for the normal development of a child’s personality; it is necessary for the free identification of his creative potential. K.I. Chukovsky in his book “From Two to Five” spoke about children’s imagination in its verbal manifestation. He very accurately noted the age (from two to five) when a child’s creativity is especially sparkling. Insufficient confidence in the laws existing in the field of language “directs” the child to cognition, mastery, and modeling of existing connections and relationships in the surrounding world of sounds, colors, things and people.

K.I. Chukovsky defended the right of children to a fairy tale and proved the child’s ability to realistically understand the imagery of a fairy tale.

Fantasy is a necessary element of creative activity in art and literature. The most important feature of the imagination involved in the creative activity of an artist or writer is its significant emotionality. Image, situation, unexpected turn of the plot that arises in the writer’s head turns out to be passed through a kind of “enriching device”, which serves emotional sphere creative personality.

In any activity, two stages are absolutely necessary: ​​setting a task (goal) and solving the problem - achieving the goal. In artistic creative activity, the idea by its very essence is the formulation of a creative task. Literary ideas, despite all their differences, are formulated in other types of activity. It's about the task of writing a work of fiction. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through one's work.

It should be noted that children are completely sincerely involved in literary works and live in this imaginary world. A child’s verbal creativity opens up richer opportunities for understanding the world and conveying his impressions, limiting the child’s actions to any technical techniques.

Issues of the formation of children's verbal creativity were studied by E.I. Tikheyeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole: it requires the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.

Verbal creativity is the most complex type of creative activity of a child. There is an element of creativity in any children's story. Therefore, the term “creative stories” is a conventional name for stories that children come up with themselves. The peculiarities of creative storytelling are that the child must independently come up with content (plot, imaginary characters), based on the topic and his past experience, and put it into the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. An equally difficult task is to convey your idea accurately, expressively and entertainingly. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from existing knowledge, introduce an element of fantasy into them and compose a creative story.

The basis of verbal creativity, notes O.S. Ushakov, the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) lies in the unity of content and artistic form. She considers verbal creativity as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems. The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.

Children's verbal creativity is expressed in various forms: in writing stories, fairy tales, descriptions; in writing poems, riddles, fables; in word creation (creation of new words - new formations).

For the methodology of teaching creative storytelling, understanding the peculiarities of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process is of particular importance. ON THE. Vetlugina noted the legitimacy of extending the concept of “creativity” to the activities of a child, delimiting it with the word “children’s.” She identified three stages in the formation of children's artistic creativity.

At the first stage, experience is accumulated. The role of the teacher is to organize life observations that influence children's creativity. The child must be taught to visualize the environment (perception acquires an aesthetic coloring). In enriching perception special role art plays. Works of art help a child to feel more keenly the beauty in life and contribute to the emergence of artistic images in his creativity.

The second stage is the actual process of children's creativity, when the idea arises and the search for artistic means begins. The process of children's creativity is not very developed in time. The emergence of a child’s idea is successful if a mindset for a new activity is created (let’s come up with a story). The presence of a plan encourages children to search for means of its implementation: searching for composition, highlighting the actions of heroes, choosing words and epithets. Creative tasks are of great importance here.

At the third stage, new products appear. The child is interested in its quality and strives to complete it, experiencing aesthetic pleasure. Therefore, an analysis of the results of creativity by adults and their interest are necessary. Analysis is also necessary for the formation of artistic taste.

Knowledge of the peculiarities of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.

1. One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with life impressions. This work may have different character depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books.

Reading books, especially of an educational nature, enriches children with new knowledge and ideas about the work of people, the behavior and actions of children and adults, aggravates moral feelings, and provides excellent examples literary language. Works oral creativity contain many artistic techniques (allegory, dialogue, repetition, personification), and attract attention with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.

2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of vocabulary. Children need to replenish and activate their vocabulary through definition words; words that help describe experiences, character traits of characters. Therefore, the process of enriching children’s experience is closely related to the formation of new concepts, new vocabulary and the ability to use the existing vocabulary.

3. Creative storytelling is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, master the structure of a coherent statement, and know the composition of the narrative and description.

Children learn these skills at previous age stages, reproducing literary texts, writing descriptions of toys and paintings, inventing stories based on them. Particularly close to verbal creativity are stories about one toy, inventing the end and beginning of the episode depicted in the picture.

4. Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist).

Subjects creative stories should be connected with the general tasks of instilling in children a correct attitude towards life around them, instilling respect for elders, love for younger ones, friendship and camaraderie. The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or fairy tale.

In the methodology of speech development, there is no strict classification of creative stories, but the following types can be roughly distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with a literary image (two options: replacing heroes while preserving the plot; changing the plot while preserving the heroes). Most often, children create contaminated texts because it is difficult for them to give a description without including an action, and the description is combined with the plot action.

Techniques for teaching creative storytelling depend on the children’s skills, learning objectives, and type of story.

In the older group, as a preparatory stage, you can use the simplest technique of telling children together with the teacher about questions. A topic is proposed, questions are asked, to which the children come up with an answer as they pose them. At the end, a story is compiled from the best answers. Essentially, the teacher “composes” together with the children.

In a preparatory school group, the tasks of teaching creative storytelling become more complicated (the ability to clearly build storyline, use means of communication, be aware of the structural organization of the text). All types of creative stories and different teaching methods with gradual complication are used.

The easiest thing is considered to be coming up with a continuation and completion of the story. The teacher gives a sample that contains the plot and determines the path for the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, and the setting in which the action takes place.

Ancillary questions, according to L.A. Penevskaya, are one of the methods of actively guiding creative storytelling, making it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.

A plan in the form of questions helps to focus children's attention on the consistency and completeness of the development of the plot. For a plan, it is advisable to use 3-4 questions; a larger number of them leads to excessive detail of actions and descriptions. What can hinder the independence of a child’s plan? During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story.

A more complex technique is storytelling based on the plot proposed by the teacher. (The teacher put in front of the children learning task. He motivated her, suggested a theme, a plot, and named the main characters. Children must come up with content, formalize it verbally in the form of a narrative, and arrange it in a certain sequence).

Coming up with a story on an independently developed topic is the most difficult task. The use of this technique is possible if children have basic knowledge about the structure of the narrative and means of intratextual communication, as well as the ability to title their story. The teacher advises what a story can be written about, invites the child to come up with a name for the future story and draw up a plan.

Learning the ability to invent fairy tales begins with the introduction of fantasy elements into realistic plots.

At first, it is better to limit fairy tales to stories about animals: “What Happened to the Hedgehog in the Forest,” “The Adventures of the Wolf,” “The Wolf and the Hare.” It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But a certain level of knowledge about the habits of animals, their appearance. Therefore, learning the ability to invent fairy tales about animals is accompanied by looking at toys, paintings, and watching filmstrips.

Reading and storytelling to children short stories, fairy tales help to draw attention to the form and structure of the work, to emphasize the interesting fact revealed in it. This has a positive effect on the quality of children's stories and fairy tales.

The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage in the speech activity of preschoolers, the reserve is activated famous fairy tales in order to assimilate their content, images and plots. At the second stage, under the guidance of the teacher, an analysis of the scheme for constructing a fairy tale narrative and plot development (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writings. The teacher turns to methods of joint creativity: chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, begins the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of a fairy tale narrative is activated: children are asked to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters.

In Gianni Rodari's book The Grammar of Fantasy. "Introduction to the Art of Storytelling" talks about some ways to create stories for children and how to help children create their own. The book’s author’s recommendations are also used in Russian kindergartens.

The most common technique is the game “What would happen if...”, where children are asked to find a solution to a certain situation.

“Old games” - note-taking games with questions and answers. It begins with a series of questions that outline in advance a certain pattern, the end of the story.

Sample questions:

§ Who was that?

§ Where is it?

§ What did you do?

§ What did you say?

§ What did the people say?

§ How did it all end?

Children's answers are read aloud as a continuous story.

“The nonsense technique” is the writing of absurdities, fables, and “twists” in two lines.

“Making a limerick” is a variant of organized and legalized nonsense. The structure of a limerick could be as follows:

1. Choosing a hero.

2. Its characteristics.

3, 4. Implementation of the predicate (performing an action).

5. The final epithet characterizing the hero.

The use of these techniques will successfully affect the development of verbal creativity of preschool children.

1.2 The concept of coherent speech, its main forms and characteristics of coherent statements

Speech is one of the central, most important mental functions. Psychologists and psycholinguists consider speech as a process of generating and perceiving a statement, as a type of specifically human activity that ensures communication.

Speech development in preschool childhood (mastery of the native language) is a process that is multifaceted in nature. So, this process is organically connected with mental development, since developed human thinking is speech, language - verbal-logical thinking. The relationship between speech development, language acquisition and mental, cognitive development indicates of great importance language for the development of thinking.

At the same time, the relationship between the speech and intellectual development of a child must be considered in the opposite direction - from intelligence to language. This approach can be conditionally designated as an analysis of the linguistic function of the intellect, that is, clarification of the role of intellect and mental activity in language acquisition.

E.I. Tikheyeva in her work “Development of Speech in Children” states that “sensations and perceptions are the first step in understanding the world; developing speech is based on a base of sensory representations. The external sense organs are instruments of cognition and, in the development of a child’s speech, they play a major role. Correct perception of objects is the main mental work of a child. Sensory and speech development“The development of the child occurs in close unity, and the work on speech development cannot be separated from the work on increasing the senses and perception.”

Speech rebuilds all mental processes: perception, thinking, memory, feelings, desires, and so on. Mastering speech allows a child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. So magical effect speech is due to the fact that it frees the child from situational situations and pressure subject environment. Unlike any other signal or any vocalization, a word is a sign that always carries a universal meaning, including not just a specific object, but a thought, image, concept. By mastering language, a child masters a sign system, which becomes a powerful tool for thinking, self-control and, above all, communication.

The close connection between the speech and intellectual development of children is especially clear in the formation of coherent speech, that is, speech that is meaningful, logical, and consistent.

Coherent speech is understood as a detailed presentation of certain content, which is carried out logically, consistently and accurately, grammatically correct and figuratively.

In the methodology, the term “coherent speech” is used in several meanings:

1. Process, activity of the speaker;

2. Product, the result of this activity, text, statement;

3. Title of the section of work on speech development.

Additionally, the terms “statement” and “text” are used synonymously.

An utterance is a speech activity, and the result of this activity: a specific speech product, more than a sentence. Its core is meaning (T.A. Ladyzhenskaya, M.R. Lvov).

“Text” is used in the methodology as a synonym for the word “statement” in its second meaning (“the result of speech activity”), more often in relation to a written statement (text of an article, text of presentation, text analysis, etc.). We can note two interrelated, but non-identical aspects of the text - coherence and integrity.

Coherent speech is inseparable from the world of thoughts; coherence of speech is coherence of thoughts. Coherent speech reflects the logic of the child’s thinking, his ability to comprehend what he perceives and express it correctly. By the way a child constructs his statements, one can judge the level of his speech development.

Coherent speech is a single semantic structural whole, including interconnected and thematically united, complete segments.

In his article “On the tasks of speech development” F.A. Sokhin wrote: “To tell a coherent story about something, you need to clearly imagine the object of the story (subject, events), be able to analyze, select the main properties and qualities, establish different relationships (cause-and-effect, temporal) between objects and phenomena.” In addition, you must be able to select the most suitable words to express a given thought, construct simple and complex sentences, use various means to connect individual sentences and parts of a statement.

The main function of coherent speech is communicative. It is carried out in two main forms - dialogue and monologue. Each of these forms has its own characteristics, which determine the nature of the methodology for their formation.

Dialogical speech is a particularly striking manifestation of the communicative function of language. Main feature dialogue is the alternation of speaking by one interlocutor with listening and subsequent speaking by another person. Oral dialogic speech occurs in a specific situation and is accompanied by gestures, facial expressions, and intonation. Speech may be incomplete, abbreviated, and sometimes fragmentary. The dialogue is characterized by: colloquial vocabulary and phraseology, frequency, reticence, abruptness; simple and complex incoherent sentences; brief premeditation. The coherence of the dialogue is ensured by two interlocutors. Dialogical speech is marked by involuntariness and reactivity.

Monologue speech is a coherent, logically consistent utterance that lasts a relatively long time and is not designed for an immediate reaction from listeners. It has an incomparably more complex structure and expresses the thought of one person, which is unknown to the listeners. The statement contains a more complete formulation of information, it is more detailed. A monologue requires internal preparation, longer preliminary thinking about the statement, and concentration of thought on the main thing. A monologue is characterized by: literary vocabulary, detailed utterance, completeness, logical completeness, syntactic structure, coherence of the monologue is ensured by one speaker.

These two forms also differ in their motives. Monologue speech is stimulated by internal motives, and its content and linguistic means are chosen by the speaker himself. Dialogical speech is stimulated not only by internal, but also by external motives.

Monologue speech is more complex, arbitrary, more in an organized manner speech, therefore requires special speech education.

Coherent speech can be situational and contextual. Situational speech is associated with a specific visual situation and does not fully reflect the content of thought in speech forms. It is understandable only when taking into account the situation being described. The speaker widely uses gestures, facial expressions, and demonstrative pronouns.

In contextual speech, unlike situational speech, its content is clear from the context itself. The difficulty of contextual speech is that it requires constructing a statement without taking into account the specific situation, relying only on linguistic means.

In most cases, situational speech has the nature of a conversation, and contextual speech has the nature of a monologue.

Coherent speech fulfills the most important social functions: helps the child establish connections with people around him, determines and regulates the norms of behavior in society, which is a decisive condition for the development of the child’s personality.

Features of the development of coherent speech were studied by L.S. Vygotsky, S.L. Rubinstein, A.M. Leushina, F.A. Sokhin and other scientists in the field of psychology.

In mastering speech, believes L.S. Vygotsky, the child goes from part to whole: from a word to a combination of two or three words, then to a simple phrase, and even later to complex sentences. The final stage is coherent speech, consisting of a number of expanded sentences.

The study by A.M. is widely known. Leushina, which reveals the patterns of development of children’s coherent speech from the moment of its emergence. She showed that development there's talk from mastering situational speech to mastering contextual speech, then the process of development of these forms of speech proceeds in parallel.

The formation of coherent speech and changes in its functions depend on the content of the conditions and forms of communication between the child and others.

The formation of coherent speech in young children and the factors of its development were studied by E.I. Tikheyeva, G.L. Rosengarp-Pupko, N.M. Aksarina.

The methodology for conducting a conversation with children is outlined in the works of E.I. Tikheyeva and E.A. Flerina, distinguishes between the classification of conversations, the target setting and the method of conduct.

The role of a generalizing conversation and the methodology for conducting it are reflected in basic research E.I. Radina, where the principles of selecting content for conversations, the structure of the conversation and techniques for activating the speech and thinking of children are revealed.

Issues of the formation of a monologue form of coherent speech were developed by V.V. Gerbova, O.S. Ushakova, V.I. Yashina, E.A. Smirnova, N.O. Smolnikova.

They give characteristics of coherent statements. Coherent statements of children can be characterized from different points of view: by function, source of the statement, leading mental process on which the child relies.

Depending on the function, four types of monologues are distinguished: description, narration, reasoning and contamination. In preschool age, predominantly contaminated utterances are observed, in which elements of all types can be used with a predominance of one of them.

Description is a static characteristic of an object. In the description, a general thesis is highlighted that names the object, then there is a description of essential and secondary features, quality, and actions. The description ends with a final phrase expressing an evaluative attitude towards the subject. When describing, lexical and syntactic means aimed at defining an object and its characteristics are important. Therefore, epithets, metaphors, comparisons are used. The description is characterized by the listed intonation.

In kindergarten, children describe pictures, toys, objects, interiors, natural phenomena, and people.

A narrative is a coherent story about some events. Its basis is a plot unfolding over time. Narration serves to tell the story of developing actions. The material in it is presented on the basis of those semantic connections that are prompted by the life situation. The sequence of events is determined by their actual course. In narrative monologues, means are used to convey the development of action: tense verb forms; vocabulary denoting time, place, manner of action; words to connect sentences.

Preschool children compose stories on a visual basis and without relying on visuals.

Reasoning is a logical presentation of material in the form of evidence. The reasoning contains an explanation of a fact, argues a certain point of view, and reveals the cause-and-effect relationships of the relationship. In reasoning, two main parts are required: the first is what is explained or proven; the second is the explanation or proof itself. Its structure includes a thesis (usually the initial sentence), evidence of the thesis put forward, and a conclusion. The reasoning uses various ways expressions of cause-and-effect relationships, subordinate clauses with the conjunction “because”, verb phrases, nouns in the genitive case with the prepositions “from, with, because of”, introductory words, the particle “after all” and non-conjunction connections, as well as words : For example.

Preschool children master the most simple reasoning in a conversational style.

In kindergarten, children are taught two main types of monologues - independent storytelling and retelling. They differ from each other in that in the first case the child selects the content for the statement and designs it independently, and in the second the material for the statement is a work of art.

Retelling is a meaningful reproduction literary image in oral speech. When retelling, the child conveys the author’s ready-made content and borrows ready-made speech forms.

A story is an independent, detailed presentation by a child of certain content. In the methodology, the term “story” is traditionally used to designate monologues of various types independently created by children (description, narration, reasoning, contamination).

Depending on the source of the statement, monologues can be distinguished:

1. For toys and objects,

2. According to the picture,

3. From experience,

4. Creative stories.

Storytelling from toys and paintings. Toys, objects and pictures serve as excellent learning materials different types statements because they suggest the content of speech. When describing, children rely on the perception of visual material and identify the characteristic features of objects and phenomena. Often the description also includes a story about completed or possible actions with a toy or object, about how these things appeared in the child. In narrative monologues, children convey a certain plot, suggested by a picture, a ready-made play situation created with the help of toys, and also come up with a story based on the picture, going beyond what is shown in the picture, or on toys (one or more). In telling stories from toys and pictures, children learn to select subject-logical content for descriptions and narratives, acquire the skills to build a composition, connect parts into a single text, and selectively use linguistic means.

Storytelling from experience is based on ideas gained through observations, as well as various types of activities, and reflects the child’s experiences and feelings. In monologues, the skills of narration, description, and reasoning are formed from collective and individual experience.

Creative stories are stories about fictional events. In the methodology, creative storytelling is understood as an activity that results in children inventing fairy tales, realistic stories with independently created images, situations, logically constructed, expressed in a certain verbal form. A realistic story reflects objects and phenomena that exist in nature, although they have not been encountered in the child’s personal experience. Fairy tales most often define themselves as a reflection of the artistic experience accumulated by children in the perception and retelling of folk and literary fairy tales. Children can also make up fables. Creative essays can be not only narrative, but also descriptive.

Depending on the leading mental process on which the “children’s” story is based, the story can be:

1. Storytelling through visual, tactile or auditory perception is descriptive in nature and leads the child to reasoning. Children talk about those objects or phenomena that they perceive in this moment. The content of texts created by children is determined by the objects and phenomena themselves, and visually perceived signs and qualities facilitate the choice of appropriate linguistic means. This type of storytelling includes descriptions of toys, paintings, natural objects, and natural phenomena. In storytelling through perception, it ensures the unity of sensory, mental and speech development.

2. Telling from memory is telling from experience, about what was experienced and perceived earlier. This is a more complex activity than perceptual storytelling. It relies on voluntary memory.

3. Imaginative storytelling is children's creative stories. From a psychological point of view, the basis of creative stories is creative imagination. In new combinations, children use ideas stored in memory and previously acquired knowledge.

Any coherent monologue utterance is characterized by a number of features:

1) Integrity (unity of theme, correspondence of all micro-themes to the main idea);

2) Structural design (beginning, middle, end);

3) Coherence (logical connections between sentences and parts of the monologue);

4) Volume of utterance;

5) Smoothness (no long pauses in the storytelling process).

To achieve coherence in speech, a number of skills are required, namely: the ability to understand and comprehend the topic, determine its boundaries; take away required material; arrange the material in the required sequence; use the means of language in accordance with literary norms and the objectives of the statement; construct speech deliberately and arbitrarily.

1.3 Fabulousgenre -as a factor in the development of children's verbal creativity

Verbal creativity is a two-pronged process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form.

One of the factors determining the development of children's verbal creativity should be recognized as the influence of folklore.

For centuries, Bashkir folklore has played and continues to play a major educational role in the life of the peoples of Bashkortostan. IN AND. Baymurzina notes that folk pedagogy is fully reflected in oral folk art.

K.Sh. Akhiyarova believes that the folk pedagogical culture of the Bashkir people consists of elements of folk art: fairy tales, legends, myths, tales.

The concept of “children's folklore” entered science relatively recently. Children's folklore developed directly with folk pedagogy. With children's folklore, every nation prepares its children from the day they are born for working life.

Firstly, “children’s folklore” has an educational influence on the child’s personality, forms artistic abilities, mental properties necessary for such a complex process as verbal creativity, creates the prerequisites for its emergence; secondly, it has a direct impact on verbal activity child, develops educated speech, determines structure and style, feeds it with its material, gives images, develops coherent speech, equips it with a way to construct a narrative. When studying the properties of folklore, one should focus on the fairy tale, that form of the epic genre to which children's writing comes closest.

Fairy tale - very popular genre oral folk art, epic, prose, plot genre. The old name of the fairy tale “fable” indicates the narrative nature of the genre. The subject of the story is unusual, surprising, and often mysterious and strange events, and the actions are of an adventurous nature.

Similar documents

Modern research and experience in the development of coherent speech in preschoolers with disabilities personal development in the process of verbal creativity. The most common behavioral disorders in children. Recommendations for teachers and parents on speech development.

thesis, added 05/25/2015


Riddles as one of the types of verbal creativity, analysis of educational functions. Consideration of the main features of the development of figurative speech in children of senior preschool age using folklore. Characteristics of small folklore forms.

thesis, added 10/08/2014


thesis, added 05/13/2015


Theoretical and methodological foundations for studying the development of coherent speech in children of senior preschool age. Contents of experimental work on the development of coherent speech in children of senior preschool age with mental retardation.

thesis, added 10/30/2017


Psychological and linguistic foundations and problems of the development of coherent speech of children in the theory and practice of preschool education. Contents and methods of experimental work on the development of coherent speech in children of senior preschool age using pictures.

thesis, added 12/24/2017


Influence various types arts for the development of creativity in preschool children. Technology and features of conducting classes with children to familiarize themselves with still life. Forms of work of children of senior preschool age in the process of getting acquainted with still life.

thesis, added 09/20/2008


Concept decorative image. Specifics of modeling for children of senior preschool age. Emotional perception of the people visual arts. Identification of the initial level of formation of a decorative image in children of senior preschool age.

thesis, added 10/17/2012


Development of speech in ontogenesis. Study of defects that delay the formation of speech components. Analysis of word formation and grammatical forms in children with general speech underdevelopment. Study of the characteristics of coherent speech in children of senior preschool age.

thesis, added 08/10/2010


The influence of various types of arts on the development of creativity in preschool children. Experimental studies of the level of perception of works of art by children of senior preschool age. Technology for introducing children to still life and illustration.

course work, added 01/06/2011


Overcoming general underdevelopment descriptive speech in children older than preschool age. The process of formation and acquisition of the native language in speech disorders. Study of the state of coherent descriptive speech of children of senior preschool age.