Perception of fiction dou fgos. Preschool children's perception of fiction

In the psychological literature there are different approaches to defining perception. So, L.D. Stolyarenko considers perception as “a psychological process of reflecting objects and phenomena of reality in the totality of their various properties and parts with direct influence on the senses.” S.L. Rubinstein understands perception as “a sensory reflection of an object or phenomenon of objective reality that affects our senses.” The properties of perception are: meaningfulness, generality, objectivity, integrity, structure, selectivity, constancy. Perception is the leading cognitive process of preschool age. Its formation ensures the successful accumulation of new knowledge, rapid mastery of new activities, adaptation to a new environment, and full physical and mental development.

The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation. The role of fiction in the comprehensive education of children is revealed in the works of N.V. Gavrish, N.S. Karpinskaya, L.V. Tanina, E.I. Tikheyeva, O.S. Ushakova.

According to N.V. Gavrish, “perceiving the work by ear, the child, through the form presented by the performer, focusing on intonation, gestures, and facial expressions, penetrates into the content of the work.” N.S. Karpinskaya notes that the full perception of a work of art is not limited to its understanding. It is “a complex process that certainly includes the emergence of one or another relationship, both to the work itself and to the reality that is depicted in it.”

S.L. Rubinstein distinguishes two types of attitude towards the artistic world of a work. “The first type of relationship - emotional-imaginative - represents the child’s direct emotional reaction to the images at the center of the work. The second - intellectual-evaluative - depends on the child’s everyday and reading experience, in which there are elements of analysis.”

The age dynamics of understanding a work of art can be presented as a certain path from empathy for a specific character, sympathy for him to understanding the author’s position and further to a generalized perception of the artistic world and awareness of one’s attitude towards it, to understanding the influence of the work on one’s personal attitudes. Since a literary text allows for the possibility of various interpretations, in the methodology it is customary to talk not about correct, but about full perception.

M.P. Voyushina understands full perception as “the reader’s ability to empathize with the characters and the author of the work, to see the dynamics of emotions, to reproduce in the imagination pictures of life created by the writer, to reflect on the motives, circumstances, consequences of the characters’ actions, to evaluate the heroes of the work, to determine the author’s position, to master the idea of ​​the work, then is to find a response in your soul to the problems posed by the author.”

In the works of L.S. Vygotsky, L.M. Gurovich, T.D. Zinkevich-Evstigneeva, N.S. Karpinskaya, E. Kuzmenkova, O.I. Nikiforova and other scientists explore the peculiarities of the perception of fiction by preschool children. For example, the perception of fiction is considered by L.S. Vygotsky as “an active volitional process that presupposes not passive content, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of events to oneself, “mental action”, resulting in the effect of personal presence, personal participation in events.”

The perception of fiction by preschool children is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. The child enters into the circumstances depicted, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity extremely expands the sphere of a child’s spiritual life and is important for his mental and moral development.

From the point of view of M.M. Alekseeva and V.I. Yashina “listening to works of art along with creative games is of utmost importance for the formation of this new type of internal mental activity, without which no creative activity is possible.” A clear plot and a dramatized depiction of events help the child to enter into the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.

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

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

O.I. Nikiforova identifies three stages in the development of perception of a work of art: “direct perception, reconstruction and experience of images (based on the work of imagination); understanding the ideological content of the work (it is based on thinking); the influence of fiction on the reader’s personality (through feelings and consciousness).”

A child’s artistic perception develops and improves throughout preschool age. L.M. Gurovich, based on a generalization of scientific data and his own research, examines the age-related characteristics of preschoolers’ perception of a literary work, highlighting two periods in their aesthetic development: “from two to five years, when art, including the art of words, becomes valuable in itself for the child.”

The process of development of artistic perception is very noticeable in preschool age. A child can understand that a work of art reflects the typical features of phenomena as early as 4-5 years old. O. Vasilishina, E. Konovalova note such a feature of a child’s artistic perception as “activity, deep empathy for the heroes of the works.” Older preschoolers acquire the ability to mentally act in imaginary circumstances, as if to take the place of the hero. For example, together with the heroes of a fairy tale, children experience a feeling of fear in tense dramatic moments, a feeling of relief, and satisfaction when justice triumphs. The most beloved among children of senior preschool age are magical Russian folk tales with their wonderful fiction, fantastic nature, developed plot action, full of conflicts, obstacles, dramatic situations, various motives (treachery, miraculous help, opposition to evil and good forces, etc.), with bright, strong characters.

A work of art attracts a child not only with its bright figurative form, but also with its semantic content. N.G. Smolnikova proves that “senior preschoolers, perceiving a work, can give a conscious, motivated assessment of the characters, using in their judgments the criteria of human behavior in society that they have developed under the influence of upbringing.” Direct empathy for the characters, the ability to follow the development of the plot, comparison of the events described in the work with those that he had to observe in life, help the child relatively quickly and correctly understand realistic stories, fairy tales, and by the end of preschool age - shapeshifters, fables. The insufficient level of development of abstract thinking makes it difficult for children to perceive genres such as fables, proverbs, riddles, and necessitates the help of an adult.

Yu. Tyunnikov rightly notes: “Children of senior preschool age, under the influence of the targeted guidance of educators, are able to see the unity of the content of a work and its artistic form, find figurative words and expressions in it, feel the rhythm and rhyme of the poem, even remember the figurative means used by other poets.” By perceiving poetic images, children receive aesthetic pleasure. Poems affect the child with the power and charm of rhythm and melody; Children are attracted to the world of sounds.

Small folklore genres continue to be actively used in working with older preschoolers. Sentences have long been used in education as pedagogical techniques in order to emotionally color the significance of a particular moment in a child’s life. Proverbs and sayings are understandable to a child of senior preschool age. But a saying belongs to the speech of an adult; children can hardly use it and are only introduced to this form of folklore. However, individual proverbs addressed to children can instill in them some rules of behavior.

V.V. Gerbova notes that “senior preschool age is a qualitatively new stage in the literary development of preschoolers.” Unlike the previous period, when the perception of literature was still inseparable from other types of activity, and above all from play, children move on to the stages of their own artistic attitude to art, to literature in particular. The art of words reflects reality through artistic images, shows the most typical, comprehending and generalizing real life facts. This helps the child learn about life and shapes his attitude towards the environment. Thus, fiction is an important means of instilling a culture of behavior in older preschoolers.

However, for the competent use of fiction in instilling a culture of behavior in children of senior preschool age. The means of G. Babin and E. Beloborodov are understood as “objects of material and spiritual culture that are used in solving pedagogical problems.” One of the tasks in shaping the personality of an older preschooler is to cultivate a culture of behavior. The means of instilling a culture of behavior include a developmental environment, games, and fiction.

The role of reading fiction is great. Listening to the work, the child gets acquainted with the surrounding life, nature, the work of people, with peers, their joys, and sometimes failures. The artistic word affects not only the consciousness, but also the feelings and actions of the child. A word can inspire a child, make him want to become better, do something good, help him understand human relationships, and get acquainted with norms of behavior.

Fiction influences the child’s feelings and mind, develops his sensitivity and emotionality. According to E.I. Tikheeva, “art captures various aspects of the human psyche: imagination, feelings, will, develops his consciousness and self-awareness, and shapes his worldview.” Using fiction as a means of cultivating a culture of behavior, the teacher must pay special attention to the selection of works, methods of reading and conducting conversations on works of fiction in order to develop humane feelings and ethical ideas in children, and to transfer these ideas into the lives and activities of children (to what extent are feelings reflected? children awakened by art, in their activities, in their communication with people around them).

When selecting literature for children, you need to remember that the moral impact of a literary work on a child depends, first of all, on its artistic value. L.A. Vvedenskaya makes two main demands on children's literature: ethical and aesthetic. On the ethical orientation of children's literature L.A. Vvedenskaya says that “a work of art should touch the child’s soul so that he develops empathy and sympathy for the hero.” The teacher selects works of art depending on the specific educational tasks facing him. The educational tasks that the teacher solves both in and outside the classroom depend on the content of a work of art.

Author of the “Program of Education and Training in Kindergarten” M.A. Vasilyeva talks about the importance of thematic distribution of works for reading to children in class and outside of class. “This will allow the teacher to carry out work on instilling a culture of behavior in children in a targeted and comprehensive manner.” In this case, it is necessary to use repeated reading, which deepens the feelings and ideas of children. It is not at all necessary to read a lot of works of fiction to children, but it is important that they are all highly artistic and deep in thought.

The problem of selecting books to read and tell to preschoolers is revealed in the works of L.M. Gurovich, N.S. Karpinskaya, L.B. Fesyukova and others. They developed several criteria:

• - ideological orientation of the book (for example, the moral character of the hero);
• - high artistic skill, literary value. The criterion of artistry is the unity of the content of the work and its form;
• - accessibility of a literary work, compliance with the age and psychological characteristics of children. When selecting books, the characteristics of attention, memory, thinking, the range of interests of children, and their life experience are taken into account;
• - plot entertaining, simplicity and clarity of composition;
• - specific pedagogical tasks.

A child, due to little life experience, cannot always see the main thing in the content of a book. Therefore M.M. Alekseeva, L.M. Gurovich, V.I. Yashin point out the importance of having an ethical conversation about what you read. “When preparing for a conversation, the teacher must think about what aspect of cultural behavior he is going to reveal to children with the help of this work of art, and select questions in accordance with this.” It is inappropriate to ask children too many questions, as this prevents them from understanding the main idea of ​​a work of art and reduces the impression of what they read. Questions should stimulate preschoolers’ interest in the actions, motives of the characters’ behavior, their inner world, and their experiences. These questions should help the child understand the image, express his attitude towards it (if assessing the image is difficult, additional questions are offered to make this task easier); they should help the teacher understand the student’s state of mind while reading; identify children’s ability to compare and generalize what they read; stimulate discussion among children in connection with what they read. The ideas children receive from works of art are transferred into their life experience gradually, systematically. Fiction helps children develop an emotional attitude towards the actions of the characters, and then the people around them, and their own actions.

Thus, conversations on the content of works of fiction contribute to the formation in children of moral motives of cultural behavior, which later guide them in their actions. From the point of view of I. Zimina, “it is children’s literature that allows preschoolers to reveal the complexity of relationships between people, the diversity of human characters, the characteristics of certain experiences, and clearly presents examples of cultural behavior that children can use as role models.”

The role of reading fiction is great. Listening to the work, the child gets acquainted with the surrounding life, nature, the work of people, with peers, their joys, and sometimes failures. The artistic word affects not only the consciousness, but also the feelings and actions of the child. A word can inspire a child, make him want to become better, do something good, help him understand human relationships, and get acquainted with norms of behavior. During preschool age, the development of an attitude towards a work of art goes from the child’s direct naive participation in the depicted events to more complex forms of aesthetic perception, which, for a correct assessment of a phenomenon, require the ability to take a position outside them, looking at them as if from the outside.

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

Thus, the following conclusions can be drawn.

The problem of perception of literary works of different genres by preschool children is complex and multifaceted. The child goes through a long journey from naive participation in the events depicted to more complex forms of aesthetic perception. We can highlight the features of the perception of literary works by children of senior preschool age:

• - the ability to empathize, allowing the child to give a moral assessment to various actions of characters, and then real people;
• - increased emotionality and spontaneity of text perception, which affects the development of imagination. Preschool age is the most favorable for the development of imagination, since the child very easily enters into imaginary situations suggested to him in the book. He quickly develops likes and dislikes towards “good” and “bad” heroes;
• - increased curiosity, acuity of perception;
• - focusing on the hero of a literary work, his actions. Children have access to simple, active motives for actions, they verbally express their attitude towards the characters, they are impressed by the bright, figurative language, and poetry of the work.

In accordance with the Federal State Educational Standard, preschool education assumes familiarity with book culture, children's literature, and listening comprehension of texts of various genres of children's literature. The most important condition for the implementation of this task is knowledge of the age-related characteristics of the perception of preschoolers, in this case, the perception of works of fiction.

At 3-4 years old (junior group) children understand main facts of the work, capture the dynamics of events. However, understanding of the plot is often fragmentary. It is important that their understanding is connected with direct personal experience. If the narrative does not evoke any visual ideas in them and is not familiar from personal experience, then, for example, Kolobok may be more incomprehensible to them than the golden egg from the fairy tale “Ryaba Hen”.
Kids are better comprehend the beginning and end of the work. They will be able to imagine the hero himself and his appearance if an adult offers them an illustration. In the hero's behavior they they only see actions, but do not notice his hidden motives for actions and experiences. For example, they may not understand Masha's true motives (from the fairy tale "Masha and the Bear") when the girl hid in the box. Children's emotional attitude towards the characters of the work is clearly expressed.

Features of the perception of a literary work by children of primary preschool age determine tasks:
1. Enrich the life experience of children with the knowledge and impressions necessary to understand a literary work.
2. Help correlate existing childhood experiences with the facts of a literary work.
3. Help establish the simplest connections in the work.
4. Help to see the most striking actions of the heroes and evaluate them correctly.

At 4-5 years old (middle group) children’s experience of knowledge and relationships is enriched, the range of specific ideas is expanding. Preschoolers easy establish simple cause-and-effect relationships in the plot. They can isolate the main thing in a sequence of actions. However, the hidden intentions of the heroes are not yet clear to children.
Focusing on their experience and knowledge of behavioral norms, most often they give the correct assessment of the hero’s actions, but highlight only simple and understandable actions. The characters' ulterior motives are still overlooked.
The emotional attitude to a work at this age is more contextual than that of 3-year-olds.

Tasks:
1. To develop the ability to establish various cause-and-effect relationships in a work.
2. Draw children’s attention to the hero’s various actions.
3. To develop the ability to see simple, open motives for the actions of heroes.
4. Encourage children to determine their emotional attitude towards the hero and motivate him.

At 5-6 years old (senior group) Children are more attentive to the content of the work and its meaning. Emotional perception is less pronounced.
Children are able to understand events that were not in their direct experience. They are able to establish diverse connections and relationships among the characters in the work. The most popular are the “long” works – “The Golden Key” by A. Tolstoy, “Cippolino” by D. Rodari, etc.
Awareness appears interest in the author's word, auditory perception develops. Children take into account not only the actions and actions of the hero, but also his experiences and thoughts. At the same time, older preschoolers empathize with the hero. The emotional attitude is based on the characteristics of the hero in the work and is more adequate to the author's intention.

Tasks:
1. To encourage children to establish diverse cause-and-effect relationships in the plot of the work.
2. To develop the ability to analyze not only the actions of the characters, but also their experiences.
3. Form a conscious emotional attitude towards the characters of the work.
4. Draw children’s attention to the linguistic style of the work and the author’s techniques for presenting the text.

At 6-7 years old (preparatory group) preschoolers begin to comprehend works not only at the level of establishing cause-and-effect relationships, but also understand emotional overtones. Children see not only the various actions of the hero, but also highlight pronounced external feelings. The emotional relationship with the characters becomes more complicated. It depends not on a single bright act, but from taking into account all the actions throughout the plot. Children can not only empathize with the hero, but also consider events from the point of view of the author of the work.

Tasks:
1. Enrich the literary experience of preschoolers.
2. To develop the ability to see the author’s position in a work.
3. Help children comprehend not only the actions of the heroes, but also penetrate into their inner world, see the hidden motives of their actions.
4. To promote the ability to see the semantic and emotional role of a word in a work.

Knowing the age-related characteristics of children’s perception of a literary work will allow the teacher develop the content of literary education and on its basis to implement the tasks of the educational field "Speech development".

Dear teachers! If you have questions about the topic of the article or have difficulties in working in this area, then write to

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

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Educational consortium CENTRAL RUSSIAN UNIVERSITY

MOSCOW HUMANITIES INSTITUTE

Department: Speech Therapy

Coursework in the discipline

"Psychology"

on the topic of:

Features of preschool children's perception of fiction.

Completed by student: Makarenkova M.A. group LZ 10 _________________________________________________

Last name, initials, group, course

Scientific supervisor: Paramonova-Vavakina Z.F. __________________________________________

Academic degree, title, surname, initials

Moscow 2011

Plan

Introduction

The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation. In the works of L.S. Vygotsky, S.L. Rubinshteina, B.M. Teplova, A.V. Zaporozhets, O.I. Nikiforova, E.A. Flerina, N.S. Karpinskaya, L.M. Gurovich and other scientists explore the peculiarities of the perception of fiction by preschool children. E.A. Fleurina called the unity of “feeling” and “thinking” a characteristic feature of such perception.
In poetic images, fiction reveals and explains to the child the life of society and nature, the world of human feelings and relationships. It enriches emotions, cultivates imagination, and gives the child excellent examples of the Russian literary language.

These examples differ in their impact: in stories, children learn conciseness and precision of words; in poetry one captures the musical melodiousness and rhythm of Russian speech; in folk tales, the lightness and expressiveness of the language, the richness of speech with humor, lively and figurative expressions, and comparisons are revealed to children.

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

The artistic word helps to understand the beauty of the native speech, it teaches him the aesthetic perception of the environment and at the same time forms his ethical (moral) ideas. According to V.A. Sukhomlinsky, reading books is the path along which a skillful, intelligent, thinking teacher finds the way to a child’s heart. Works of literature provide examples of Russian literary speech. According to E.A. Flerina, they provide ready-made linguistic forms, verbal characteristics with which the child operates. By means of artistic expression, even before school, before mastering grammatical rules, the child masters the grammatical norms of the language in unity with its vocabulary.

From the book, the child learns many new words and figurative expressions, his speech is enriched with emotional and poetic vocabulary. Literature helps to express one’s attitude to what one has listened to, using comparisons, metaphors, epithets, and other means of figurative expression, the mastery of which, in turn, serves to develop the artistic perception of literary works.

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

Due to the fact that kindergarten curricula provide for familiarization with fiction, knowledge of the peculiarities of preschoolers’ perception of fiction becomes relevant.

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

Target research to determine the influence of fiction on preschool children and the characteristics of children’s perception of works of fiction

Object of study- features of perception of preschool children.

Subject of study- features of children’s perception in the process of becoming familiar with fiction.

Hypothesis research: fiction influences children's perceptionswhen selecting works taking into account the age-related psychological characteristics of preschoolers.

Research objectives:

1. Select scientific psychological and pedagogical literature that covers issues of perception of preschool children.

2. Study the main characteristics of children's perception. To identify the peculiarities of preschool children’s perception of works of art.
3. Identify the pedagogical conditions under which fiction will influence children's perception.

Chapter 1. Peculiarities of perception of preschool children

1. Perception of preschool children

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

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

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

1.2. Development of perception in children

Significant changes in the development of perception in a child occur under the influence of verbal communication with adults. Adults introduce the child to surrounding objects, help to highlight their most important and characteristic aspects, teach them how to operate with them, and answer numerous questions regarding these objects. By learning the names of objects and their individual parts, children learn to generalize and differentiate objects according to the most important features. To a large extent, children's perceptions depend on their previous experiences. The more often a child encounters various objects, the more he learns about them, the more fully he can perceive and in the future more correctly reflect the connections and relationships between them. The incompleteness of children's experience, in particular, explains the fact that when perceiving little-known things or drawings, young children are often limited to listing and describing individual objects or their parts and find it difficult to explain their meaning as a whole. Psychologists Binet, Stern and others, who noticed this fact, drew the incorrect conclusion from it that there are strict standards for age-related characteristics of perception, regardless of the content of what is perceived. This is, for example, Binet’s scheme, which establishes three age stages for children’s perception of pictures: from 3 to 7 years old - the stage of listing individual objects, from 7 to 12 years old - the stage of description and from 12 years old - the stage of explanation or interpretation. The artificiality of such schemes is easily revealed if children are presented with pictures with close, familiar content. In this case, even three-year-old children are not limited to simply listing objects, but give a more or less coherent story, albeit with an admixture of fictitious, fantastic explanations (data from S. Rubinstein and Hovsepyan).Thus, the qualitative originality of the content of children's perception is caused, first of all, by the limitations of children's experience, the insufficiency of systems of temporary connections formed in past experience, and the inaccuracy of previously developed differentiations. The patterns of formation of conditioned reflex connections also explain the close connection of children's perception with the actions and movements of the child. The first years of children's lives are the period of development of basic inter-analyzer conditioned reflex connections (for example, visual-motor, visual-tactile, etc.), the formation of which requires direct movements and actions with objects. At this age, children, while looking at objects, at the same time feel and touch them. Later, when these connections become stronger and more differentiated, direct actions with objects are less necessary, and visual perception becomes a relatively independent process in which the motor component participates in a latent form (mainly eye movements are produced). Both of these stages are always observed, but they cannot be associated with a strictly defined age, since they depend on the living conditions, upbringing and education of the child. Play is important for the development of perception and observation in preschool and primary school age. In the game, children differentiate the various properties of objects - their color, shape, size, weight, and since all this is associated with the actions and movements of children, the game thereby creates favorable conditions for the interaction of various analyzers and for the creation of a multifaceted understanding of objects. Drawing and modeling are of great importance for the development of perception and observation, during which children learn to correctly convey the contours of objects, distinguish shades of colors, etc. In the process of playing, drawing and performing other tasks, children learn to independently set themselves the task of observation. Thus, already in older preschool age, perception becomes more organized and controllable. In the process of schoolwork, in order to develop perception, careful comparisons of objects, their individual aspects, and an indication of the similarities and differences between them are necessary. The independent actions of students with objects and the participation of various analyzers (in particular, not only vision and hearing, but also touch) are of utmost importance. Active, purposeful actions with objects, consistency and systematicity in the accumulation of facts, their careful analysis and generalization - these are the basic requirements for observation, which must be strictly observed by students and teachers. Particular care must be taken to ensure the correctness of observations. At first, schoolchildren’s observations may not be detailed enough (which is natural when first becoming familiar with an object or phenomenon), but observations should never be replaced by distortion of facts and their arbitrary interpretation.

Chapter 2. Peculiarities of perception of fiction by preschool children

2.1.Perception of fiction by preschool children

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

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

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

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

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

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

2.2. Features and methods of introducing literary works to children of early and preschool age

From the age of 1.5 years, for the development of children's speech, classes begin using the artistic word - getting acquainted with miniature works of folk art, with author's works accessible to children. Based on the rhythmic and melodic structure of the language in nursery rhymes and poems, early perception of the sound culture of speech occurs, when phonemics are not yet perceived. These works of art convey the richness of the native language, the characteristic melodiousness of vowels, the softness of consonants, and the original pronunciation. They solve such problems as the development of auditory attention, speech understanding, the development of the articulatory auditory apparatus, onomatopoeia, activation of the vocabulary using onomatopoeia - in nursery rhymes, songs when showing and naming various objects. At the same time, auditory perception, speech breathing, and the vocal apparatus develop, articulation is refined, and the ability to clearly and correctly pronounce words and phrases is developed.

At this age, the teacher works with children individually and in groups of 2-6 people. Before the lesson, teachers prepare visual material that is supposed to be used during reading (toys, dummies, a painting, a portrait, sets of books with illustrations for distribution to children).

For reading and storytelling to be educational, it is necessary to follow the rule so that children see the teacher’s face, and not just listen to the voice. Therefore, one of the tasks is to teach children to listen to a reader or storyteller. Only by learning to listen to someone else’s speech do children gain the ability to remember its content and form, and learn the norms of literary speech. Therefore, when reading from a book, a teacher must learn to look not only at the text, but also from time to time at the children’s faces, meet their eyes, and monitor how they react to reading. The ability to look at children while reading is given to the teacher as a result of persistent training, but even the most experienced reader cannot read a new work “from sight”, without preparation. Therefore, before class, the teacher performs an intonation analysis of the work (“narrator’s readings”) and practices reading aloud.

The teacher mainly reads to the kids by heart - nursery rhymes, short poems, short stories, fairy tales, and only tells prose works (fairy tales, stories, short stories).

Reading and storytelling of fiction is carried out strictly according to a specific plan (approximately once a week in each age group), which takes into account socio-political events and the time of year.

The basic rule for organizing reading classes and telling literary works to children is the emotional uplift of the reader and listeners. The teacher creates a positive mood - in front of the children, he carefully handles the book, pronounces the author’s name with respect, and with a few introductory words arouses the children’s interest in what he is going to read or talk about. The colorful cover of a new book, which the teacher shows to the children before they start reading, may also be the reason for their increased attention.

Kids require guidance in listening - the appearance and voice of the storyteller should say that at this moment we are talking about something touching and funny. The teacher reads a cheerful text without interrupting himself (comments are allowed only when reading educational books). All words that may be difficult for children to understand should be explained at the beginning of the lesson.

After 2 years (1st junior group of preschoolers), the teacher organizes the reading of books with illustrations, drawing the children’s attention to the pictures. With simple text and simple pictures, you can read the text, accompanying the reading by showing pictures, or tell the story in your own words. In subsequent classes, the teacher encourages the children not only to look at the pictures, but also to talk about what is written in the book. It can also help kids remember their story about a particular illustration. In case of difficulties, the child turns to the teacher, who organizes an examination and retelling. In this case, there is joint activity between an adult and a child. Books help establish contacts between adults and children, and between the children themselves. It is important that the child can contact the teacher outside of class. You can talk about the contents of books even in their absence - this develops memory and makes the child think.

Listening and subsequent reproduction of short stories, poems, folk nursery rhymes, and songs by children of the third year of life, where systematically organized storytelling is especially important, teaching people to listen carefully, understand and tell stories independently.

At first, the same story must be repeated several times - both in the same lesson and at short intervals of 2-3 days. Subsequently, while maintaining the main content, the story should be complicated. Complication can go in different directions: the number of actions performed by the characters increases, the location of the action is described, and the relationships that develop between the characters are played out. In order to teach a child to understand a story and develop the ability to retell, it is necessary to organize joint storytelling. First, you should encourage the child to repeat words and phrases after the teacher - then ask questions and teach him to answer them later - ask him to tell them independently. In this case, the teacher himself needs to lead the story after the child, repeating what he said, and be sure to add what was missed. Then already at the 4th year of life, starting with a simple reproduction of a well-known fairy tale, built on repetition, they move on to retelling the short stories of L.N. Tolstoy (spectacles, dramatization, and individual work are important in preparation).

Before the initial reading of a literary work, you should not make a commitment to memorization. It is important to read expressively, highlighting the dialogues of persons with intonation (help in determining attitudes towards characters and events). A conversation on the content and form of the work includes the teacher asking thoughtful questions (for understanding), finding out how the author describes the phenomenon, what it compares with, what was most remembered, what is unusual - for holistic perception (unity of content and form) - 4-5 questions . Before re-reading, set the stage for careful listening and memorization. In retelling a work by children, artistic and figurative speech is important; if several fairy tales (stories) are given in a lesson, then the children choose and retell one at will, or the children come up with a continuation to the text they read, or compose a story by analogy, or carry out dramatization.

L.M. Gurovich, based on a generalization of scientific data and his own research, examines the age-related characteristics of perception, highlighting 2 periods in their aesthetic development:

from 2 to 5 years, when the child does not clearly separate life from art;

after 5 years, when art (and the art of words) becomes valuable in itself for a child.

Based on the characteristics of perception, the leading tasks of familiarizing with a book are identified at each age stage; younger preschool age is characterized by the dependence of understanding the text on the child’s personal experience, the establishment of easily understood connections, when events follow each other, the main character is in the spotlight. Most often, children do not understand his experiences and motives for his actions. The emotional attitude towards the characters is brightly colored, and there is a craving for a rhythmically organized style of speech.

The range of children's reading and storytelling is determined by the selection criteria of its group of works:

Works of Russian folk art and creativity of the peoples of the world; small forms of folklore (riddles, proverbs, sayings, songs, nursery rhymes, ditties, fables, shifters), fairy tales.

Works of Russian and foreign classical literature:

A.S. Pushkina, L.N. Tolstoy, K.D. Ushinsky, Brothers Grimm, H.K. Andersen, C. Perrault and others.

Works of modern Russian and foreign literature (various genres - stories, tales, fairy tales, poems, lyrical and comic poems, riddles).

An important part of a teacher’s professional training is memorizing works of fiction intended to be read to children and developing expressive reading skills. In a preschool age group, for better reading or storytelling, the teacher divides the listeners in half.

2.3.The role of the teacher in introducing children to fiction

The methodology of artistic reading and storytelling to children is disclosed in monographs, methodological and educational manuals. The main methods of familiarization with fiction are:

1.reading by the teacher from the book and by heart (literal transmission of the text, when the reader, preserving the author’s language, conveys all the shades of the writer’s thoughts, affects the mind and feelings of the listeners; a significant part of the literary work is read from the book).

2. the teacher’s narration - relatively free transmission of the text (rearrangement of words and the meaning of their interpretation is possible), making it possible to attract the attention of children;

3. dramatization is a means of secondary acquaintance with fiction.

4. learning by heart.

The choice of method of conveying the work (reading or telling) depends on the genre of the work and the age group of the listeners. In the methodology of speech development, two traditional forms of working with books in kindergarten are traditional: reading and storytelling, memorizing poems in class and using literary works and works of oral folk art outside of class, in various activities.

In one lesson, one work is read and 1-2 of those that the children have already heard before. Repeated reading of works in kindergarten is mandatory. Children love to listen to stories, fairy tales, and poems they already know and love. The repetition of emotional experiences does not impoverish perception, but leads to the assimilation of language and, consequently, to a deeper understanding of events and the actions of the characters. Already at primary school age, children have favorite characters, works that are dear to them, and therefore they are pleased with every meeting with these characters.

Kids, of course, may not understand everything in the text of the work, but to be imbued with the feelings expressed in it, they should feel joy, sadness, anger, pity, and then admiration, respect, jokes, ridicule, etc. Simultaneously with the assimilation of feelings expressed in fiction, children also acquire language. This is the basic pattern of speech acquisition and the development of linguistic flair (sense of language).

To read expressively means to express intonation and the whole attitude towards what you are reading about, to evaluate the content of what you are reading from the point of view of its emotional impact. At an early age, not yet understanding speech, children evaluate the nature of its emotion and react to it accordingly. Therefore, expressive reading is both a way to convey the whole gamut of emotions, and a way to develop and improve a child’s feelings.

A certain level of development of the emotional sphere of the psyche of children of a particular age level, achieved by means of intonation, will allow the teacher to help children master the expressive means of vocabulary and grammar (morphology and syntax) at the next stage.

When preparing for a speaker's reading of a text, the teacher puts himself in the position of a listener of a given text, tries to anticipate what exactly might make it difficult for his listeners, looks for means of facilitating perception (according to Bogolyubskaya M.K., Shevchenko V.V.): the reader's orthoepy, the strength of his voice, tempo speech (less significant faster), pausing, stress and emotional coloring of the voice

Kindergarten program according to O.S. Ushakova sets the teacher the task of awakening in children the desire to listen to the telling of fairy tales, reading works of art, to cultivate the ability to follow the development of action in a fairy tale, story, and sympathize with positive characters. Starting from younger groups, it is necessary to introduce children to the distinction between genres. The teacher must definitely name the genre of the literary work. Of course, a deeper understanding of the specifics of genres and their features will occur at an older age. In the younger group, when children hear the names of genres, they simply remember it.

It is necessary to avoid incorrect expressions (“I’ll tell you a fairy tale, a poem”). Genre names must be given clearly and correctly. Fairy tales are told, stories are read, poems are read and memorized. Different literary genres require different types of transmission. It is preferable to tell fairy tales to children of the fourth year of life rather than read them from a book - this enhances the emotional impact, which, in turn, contributes to a better understanding of the main meaning of the fairy tale. When the teacher looks not at the back, but at the children, he seems to be talking to each child and thereby develops the very important ability to listen and understand monologue speech.

If the content of the tale is small, you can tell it two or even three times; you can repeat only the most striking parts. After the story, it is recommended to invite children to remember the most interesting moments and repeat them in the words of the fairy tale. For example, after listening to the fairy tale “Masha and the Bear,” you can ask: “What did the bear say when he wanted to eat the pie?” - the children, imitating the teacher, answer in a low voice: “I’ll sit on a stump and eat the pie.” The teacher: “What did Mashenka answer to the bear?” - encourages them to remember the words: “I see, I see! Don’t sit on the stump, don’t eat the pie!” By repeating these words, children better assimilate the content of the fairy tale, learn to convey the words of its characters intonationally, and let them repeat the intonations of the teacher for now. This lays the foundation for independent development at an older age.

After listening to the fairy tales “The Wolf and the Little Goats”, “The Cat, the Rooster and the Fox”, you can repeat the songs of the characters. And so that the children learn to answer the teacher’s questions according to the content, he calls the child and offers to repeat the character’s song. Folk tales provide examples of rhythmic speech familiar with the colorfulness and imagery of the native language. Kids easily and quickly remember such images as the golden comb cockerel, baby goats, wolf goat, etc. The repetition of songs by characters in folk tales and the names of heroes fixes these figurative words in the minds of children - they begin to use them in their games.

Z. Alexandrova - instilling good feelings and positive emotions in little listeners. Their simple content, close to the child’s personal experience, is expressed in a simple and accessible form: adjacent rhyme, short poetic lines. By repeating them, children grasp the consonance of the lines, the musicality of the verse, easily perceive... and then memorize all the poems. Children of the fourth year of life are especially attracted to poetic works that are distinguished by easy rhyme, rhythm, and musicality. When reading repeatedly, children grasp the meaning of the poem, become stronger in their sense of rhyme and rhythm, remember individual words and expressions, and thereby enrich their feelings.

At this stage, nurturing the sound culture of speech is of great importance - when reading poetry, you need to teach kids to pronounce them slowly, clearly pronouncing each word. Children have a habit of putting stress on rhyming words, so the teacher must place logical stress with particular precision and ensure that the children pronounce the poem correctly.

After reading stories and poems, the content of which is close and accessible to every child, you can remind children of similar facts from their own lives. For example, after reading E. Blashnina’s poem “That’s What Mom Is,” the teacher may ask how the child was dressed up by her mother for the holiday. Let children, when answering questions, construct their statements from only one or two simple sentences - this is already preparation for learning to tell.

Of course, kids shouldn’t be asked a lot of questions - two or three questions each, finding out how they understood the content of the work, what words they remembered, and how this content relates to the child’s personal experience.

Throughout the year, children are repeatedly read familiar stories, fairy tales, poems and rhythmic lines from fairy tales, so that poetic images are better absorbed and not forgotten. Memorizing poems and fairy tales has a great impact on the development of a child’s vocabulary. We must strive to ensure that the words heard by children in class are included in their active vocabulary. To do this, you should repeat them more often in a wide variety of combinations, otherwise the baby will perceive new words simply as a combination of sounds, without comprehending their meaning. The teacher's task is to teach children to understand the words they pronounce, to show how they can be used in combination with other words.

In work practice, sometimes we encounter this approach to familiarizing ourselves with fiction: the teacher expressively and emotionally reads a fairy tale or poem, and that’s where the familiarization ends. Children may well understand the meaning of what they read, but reading does not develop their thoughts - the content of the work and the words they heard are quickly forgotten. Of course, it is very important to maintain a sense of proportion, but working on the work, further repetition of words and expressions that children have remembered and learned is absolutely necessary.

If after each lesson you repeat, consolidate new words, and present them in a wide variety of combinations, children will better master the vocabulary and structure of their native language.

Particular attention should be paid to the formation of the grammar of correct speech, to ensure that when answering questions about the content of literary works, children use words in the correct grammatical form. Thus, familiarization with fiction influences the comprehensive development of speech: the sound culture of speech, grammatical structure, and vocabulary. Already from early preschool age, the foundations for the development of coherent speech are laid, necessary for the subsequent perception of more complex works, for the further development of speech.

2.4. Peculiarities of perception of fairy tales by preschool children

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

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

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

Fairy tales help develop responsiveness and kindness in a child, and make the child’s emotional and moral development controlled and purposeful. Why fairy tales? Yes, because art and literature are the richest source and stimulator of feelings, experiences, and specifically higher feelings, specifically human (moral, intellectual, aesthetic). A fairy tale for a child is not just fiction, fantasy, it is a special reality, the reality of the world of feelings. A fairy tale expands the boundaries of ordinary life for a child; only in a fairy tale form do preschoolers encounter such complex phenomena and feelings as life and death, love and hate, anger and compassion, betrayal and deceit, and the like. The form of depiction of these phenomena is special, fabulous, understandable to a child, and the height of the manifestations, the moral meaning, remain genuine, “adults”.
Therefore, the lessons that the fairy tale gives are lifelong lessons for both children and adults. For children, these are incomparable moral lessons; for adults, these are lessons in which the fairy tale reveals its, sometimes unexpected, impact on the child.

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

A child brought up on a folk tale senses the limits that the imagination should not exceed in art, and at the same time, the preschooler begins to develop realistic criteria for aesthetic assessments.

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

The value judgments of preschool children are still primitive, but they indicate the emergence of the ability not only to feel

beautiful, but also to appreciate. When perceiving works of art, it is important not only the general attitude towards the entire work, but also the nature of the attitude, the child’s assessment of individual characters.
A child’s acquaintance with fiction begins with oral folk art - nursery rhymes, songs, then he begins to listen to fairy tales. Deep humanity, extremely precise moral orientation, lively humor, figurative language are the features of these folklore miniature works. Finally, the child is read original fairy tales, stories accessible to him.

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

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

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

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

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

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

The purpose of literary education for preschoolers, according to

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

Summarized it is:

Cultivate interest in fiction, the ability to holistically perceive works of different genres, assimilate the content of works and emotional responsiveness to it.

To form initial ideas about the features of fiction: about genres (prose, poetry), about their specific features; about composition, about the simplest elements of imagery in language;

To cultivate literary and artistic taste, the ability to understand the mood of works, to capture the musicality, sonority, rhythm, beauty and poetry of a story, fairy tale, verse, to develop a poetic ear.

Bibliography

Kirov regional state professional

educational budgetary institution

"Kirov Pedagogical College"

TEST

according to MDK 03.02

Theory and methods of speech development in children

Peculiarities of preschoolers' perception of fiction

specialty 44.02.01 “Preschool education”

extramural studies

group D-31

Chistyakova Daria Alexandrovna

MKDOU 102 “Spikelet”

Introduction. 3

1. The role of fiction in the development of children's speech. 4

2. Features of preschool children’s perception of fiction. 5

3. The tasks and content of the kindergarten’s work on familiarization with fiction. 6

4. Principles for selecting literary works for reading and telling to children. eleven

5. Peculiarities of children’s perception of fiction in the second junior group. 12

Conclusion. 21

References.. 23

Introduction

Preschool education is the basis for universal education of children.

In the Federal State Educational Standard for Education (clause 2.6), educational areas represent the following areas of development of a preschool child: speech development; cognitive development; communication development; physical development; artistic and aesthetic development.

Speech development includes mastery of speech as a means of communication and culture; enrichment of the active vocabulary; development of coherent, grammatically correct dialogical and monologue speech; development of speech creativity; development of sound and intonation culture of speech, phonemic hearing; acquaintance with book culture, children's literature, listening comprehension of texts of various genres of children's literature; formation of sound analytical-synthetic activity as a prerequisite for learning to read and write. Among the targets at the stage of completion of preschool education is indicated: “the child is familiar with works of children’s literature.”

Federal State Educational Standards for Preschool Education is a support for developing long-term plans and writing lesson notes, which should be aimed at the perception of fiction by preschool children.

Preschool age is the period when the perception of fiction by preschool children can become the main hobby not only of gifted preschoolers, but also of almost all other children of this age, therefore, by captivating a preschool child into the fairy-tale world of perception of fiction, we develop his creative abilities. abilities and imagination.

The role of fiction in the development of children's speech.

In the context of the implementation of the Federal State Educational Standard, a special place in preschool education has a role fiction in the development of speech of preschool children.

Speech preschooler development includes: mastery of speech as a means of communication and culture; enrichment of the active vocabulary; communication development, grammatically correct dialogical and monological speech; development of speech creativity; development sound and intonation culture speeches, phonemic hearing; acquaintance with book culture, children's literature, listening comprehension of texts of various genres for children literature; formation of sound analytical-synthetic activity as a prerequisite for learning to read and write.

The book has always been and remains the main source of formation of correct developed speech. Reading enriches not only the intellect and vocabulary, but also makes you think, comprehend, forms images, allows you to fantasize, develops personality is multifaceted and harmonious. This should be realized, first of all, by adults, parents and teachers who are involved in raising a child, and instill in him love to fiction. After all, as V.A. said. Sukhomlinsky: “reading books is the path along which a skillful, intelligent, thinking teacher finds the way to a child’s heart.”

Fiction has a great influence on the development and enrichment of a child’s speech: it fosters imagination and provides excellent examples of the Russian literary language. Listening to a familiar fairy tale or poem, the child experiences and worries along with the characters. This is how he learns to understand literary works and through this is formed as a person.

Folk tales reveal to children the accuracy and expressiveness of language; in stories, children learn conciseness and precision of words; the poems capture the melodiousness, musicality and rhythm of Russian speech. However, a literary work is fully perceived only if the child is appropriately prepared for it. Therefore, it is necessary to draw children’s attention to both the content of a literary work and its means of expression. Do not forget that interest in reading can be instilled only if literature corresponds to the interests of the child, his worldview, needs, and spiritual motivations.

Features of preschool children's perception of fiction.

Table 1 shows age-related characteristics of children's perception of fiction.

Table 1 – Features of preschool children’s perception of fiction.

Thus, fiction influences the child’s feelings and mind, develops his sensitivity, emotionality, consciousness and self-awareness, shapes his worldview, and motivates behavior.