Speech development when introducing children to fiction
Fiction serves as a powerful, effective means of mental, moral and aesthetic education of children; it has a huge impact on the development and enrichment of a child’s speech. 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; the poems capture the musicality, melodiousness, and rhythm of Russian speech; folk tales reveal to them the accuracy and expressiveness of the language, show how rich their native speech is in humor, lively and figurative expressions, and comparisons.
The “Kindergarten Education Program” sets the task of instilling in children a love for the literary word, respect for books, and determines the range of works of fiction that children need to read, tell, and memorize.
The repertoire of literary works given in the “Program” for all age groups is mandatory for every teacher, and it is also mandatory to fulfill all the tasks that are set in connection with introducing children to fiction.
Preschool children are listeners, not readers; a work of art is conveyed to them by a teacher, so their mastery of expressive reading skills is of particular importance.
The teacher faces a difficult task - to convey each work of art to children as a work of art, to reveal its intention, to infect listeners with an emotional attitude towards literary characters, their feelings, actions or to the lyrical experiences of the author, that is, to intonationally convey their attitude towards the characters and characters persons. And for this, it is necessary for the teacher himself, before introducing children to the work, to understand and feel it, to be able to analyze it from the point of view of content and artistic form. And, of course, the teacher must master reading and storytelling techniques - clear diction, means of intonation expressiveness (correctly place logical stresses, pauses, control the tempo, being able to speed up or slow down, raise or lower the voice in the right places).
Only if a literary work of each genre is conveyed expressively to the child can we talk about its correct perception.
The ability to perceive a literary work, to realize, along with the content, elements of artistic expression, does not come to the child by itself: it must be developed and educated from a very early age in order to develop in children the ability to actively listen to a work, to listen attentively to artistic speech.
Of course, this is a very difficult task - to convey to a child the cognitive, moral, and aesthetic essence of a literary work, but it is necessary. When analyzing a text, it is very important to maintain a sense of proportion, avoiding straightforward moralizing, naked edification, and correctly combine questions about the content with questions about the artistic form of the work.
K. D. Ushinsky wrote: “...he does not act pedagogically who, trying to explain every word to a small reader, imposes a whole volume of various verbal interpretations on a small and sometimes empty story.”
Many of K. D. Ushinsky’s provisions on the perception of literary works, on the development of the “gift of speech” through exercises, starting from an early age, have not lost their meaning in our time.
In Soviet preschool pedagogy, E. I. Tikheeva, V. A. Flerina, O. I. Solovyova, L. A. Penevskaya, M. M. Konina, N. S. Karpinskaya made a great contribution to the development of methods for introducing children to fiction , V. M. Fedyaevskaya, R. I. Zhukovskaya and others.
With targeted pedagogical guidance, it is possible to ensure the aesthetic perception of a literary work and the child’s awareness of both its content and means of artistic expression.
Each age period of preschool childhood sets its own goals for speech development. They gradually become more complex due to the fact that with age the level of perception of literary works increases, and children develop a poetic ear.
We will consider only some issues of the development of children's speech when familiarizing themselves with fiction but age groups, starting with the second youngest, because here this work occupies a much larger place than in the previous one (in the “Education Program in Kindergarten” there is a special section “Fiction” literature").
Second junior group
The teacher is faced with the task of “awakening in children the desire to listen to the telling of fairy tales, reading works of art, to develop the ability to follow the development of action in a fairy tale, story, and sympathize with positive characters.”
The program for introducing children to fiction includes fairy tales, stories, poems and works of “small forms” of folklore: nursery rhymes, songs, tongue twisters, etc.
Starting from the younger group, children must be introduced to the distinction between genres.
The teacher must name the genre of the literary work: “Today I will tell you a fairy tale,” “Now I will read a story (poem).”
Of course, a deeper understanding of the specifics of genres and their features will occur at an older age. In the younger group, children, hearing the name of the genre, simply remember that “Masha and the Bear”, “The Cat, the Rooster and the Lasa” are fairy tales, “Toys” by A. Barto, “My Bear” 3. Alexandrova are poems, and “ Yasochkin's kindergarten" by N. Zabila is a story.
It is necessary to avoid incorrect expressions (“I’ll tell you a poem”, “I’ll read a fairy tale”). The names of the genres should be given clearly and correctly: fairy tale, story, poem (not rhyme). A fairy tale is told, a story is read, a poem is read and memorized.
Different literary genres require different types of transmission. For children of primary preschool age, it is preferable to tell fairy tales rather than read them from a book: this enhances the emotional impact, which, in turn, contributes to understanding the main meaning of the fairy tale. When the teacher looks not at the book, 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, and 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 tree stump and eat a pie.” Question: “What did Mashenka answer to the bear?” - encourages them to remember the words: “I see, I see! Don't sit on the tree stump, don't eat the pie! Bring it to grandma, give it to grandpa!”
By repeating these lines, children better assimilate the content of the fairy tale and learn to convey the words of its characters intonationally.
And let them repeat the teacher’s intonations for now. This lays the foundation for the independent development of intonation expressiveness 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 of the younger group learn to answer the teacher’s questions one at a time, he calls the child and suggests: “Kolya, repeat what song the fox sang to the cockerel under the window” - or: “Anya, remember what song the goat sang to her little goats.”
Folk tales provide examples of rhythmic speech and introduce the colorfulness and imagery of the native language. Children easily quickly remember such images as a cockerel - a golden comb, baby goats, a goat-dereza, etc. Repeating songs of characters from folk tales and the names of heroes fixes these figurative words in the minds of children, and they begin to use them in their games .
Short stories and poems are recommended for reading to younger preschoolers. Poems for children, such as “Toys” by A. Barto, “My Bear” by Z. Alexandrova, instill in little listeners a feeling of sympathy and positive emotions. 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 remember the entire poem.
Younger preschoolers are especially attracted to poetic works that are distinguished by clear rhyme, rhythm, and musicality.
When reading repeatedly, children learn the meaning of the poem, develop a sense of rhyme and rhythm, remember individual words and expressions, and thereby enrich their speech.
At a young age, cultivating 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 placing 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 N. Zabili’s story “Yasochkin’s kindergarten,” ask the children if they play with their toys in kindergarten and how they play or with whom. After reading E. Blaginina’s poem “That’s What Mom Is,” the teacher can ask the question: “Olya, how did your mother dress you up for the holiday?”
Let children, when answering these questions, construct their statements from only one or two simple sentences, but this is already preparation for the subsequent development of coherent speech.
Of course, you shouldn’t ask kids a lot of questions, but two or three questions that find out how they understood the content of the work, what words they remembered, and how this content relates to the child’s personal experience should be asked.
Throughout the year, familiar stories, poems, some fairy tales, or rhythmic lines from fairy tales are read repeatedly to children so that poetic images are better absorbed and not forgotten.
Memorizing poems and fairy tales has a great influence on the development of children's vocabulary. We must strive to ensure that the words heard by children in class are included in their active vocabulary. And to do this, you should repeat these words 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 and to show how they can be used in combination with other words.
In practice, sometimes we encounter this approach to familiarizing ourselves with fiction: the teacher expressively and emotionally reads a fairy tale or poem and ends the “familiarization” with this. Children may have well understood the meaning of what they read, but reading will not develop their thoughts; the content of the work and the words they heard will be quickly forgotten. Of course, it is very important to maintain a sense of proportion, but work on the work, further repetition of words and expressions that children have remembered and learned are absolutely necessary.
All kids quickly remember the lines from K.I. Chukovsky’s poem “Moidodyr”: “Long live fragrant soap!” But the word fragrant
(or
fragrant, fragrant)
is almost never used by them in colloquial speech.
The reason is that there was no further work with this word. And such work is needed. For example, after a lesson in which children heard the word fragrant,
you can ask why soap is called fragrant.
If they find it difficult to answer, you need to explain that the soap smells nice, and when they wash themselves with it, their hands become fragrant. During a walk, you should let the children smell the flower and ask if it smells nice. Then ask the question: “What word can you use to describe a flower that smells nice?” (Fragrant.)
You can reinforce this word in the following days by showing different flowers and calling them fragrant.
After reading K.I. Chukovsky’s story “Chicken,” you can ask: “What kind of chicken was it?” (Small, yellow, fluffy.)
“What was his mother like?”
(Big, kind, affectionate.)
If after each lesson you repeat, consolidate words, present them in a wide variety of combinations, children will learn the vocabulary and structure of their native speech, their active vocabulary will expand and they will begin to use these words more freely in their speech.
Particular attention should be paid to the formation of grammatically correct speech, ensuring 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: sound culture, grammatical structure, vocabulary. Already from a young age, the foundations for the development of coherent speech are laid. This is necessary for the subsequent perception of more complex works, for the further development of speech.
Middle group
In middle preschool age, work deepens on developing children’s perception of literary works and on developing the ability to delve deeper into the content. Children more clearly express their attitude towards the characters and the events described, and are aware of the feelings that arise in them.
As in the younger group, the teacher names the genres of the works being studied: “I will tell you the Russian folk tale “Zhiharka” or “I will read the story “Know How to Wait,” etc. This naming will later help children understand the characteristics of each genre.
The themes of literary works are more diverse.
However, in the middle group, it is possible to focus children’s attention not only on the content of the work, but also on some features of the literary language (figurative words and expressions, some epithets and comparisons). This lays the foundation for the further development of poetic hearing, “the sense of the poetic word.”
It is very important to think through and correctly pose questions after reading a work in order to help children isolate the main thing - the actions of the main characters, their relationships and actions. A correctly delivered question forces children to think, reflect, draw their own conclusions, become more deeply aware of the moral essence of the work and at the same time notice and feel the beauty of its artistic form.
For example, after reading the fairy tale “Zhiharka” you can ask: “What is this fairy tale about? Who liked the teas? What can you say about Zhikharka? What is he like? What words are repeated here? What does the fairy tale say about Zhikharka’s spoon? What is she like?
These questions will find out whether the children understood the main content of the fairy tale, whether they remembered the repetitions and figurative description of Zhikharka’s spoon (“not simple, chiseled, gilded handle”), and will reveal their attitude towards the heroes.
Using individual lines from a fairy tale or other readable work in his explanations, the teacher highlights them intonationally, drawing the children’s attention to the language of works of art.
A correct analysis of a literary work makes artistic speech the property of the child himself, and in the future he will consciously use its means, especially in such activities as independent storytelling.
When reading poems, the teacher, highlighting the rhythmicity, musicality, melodiousness of the verse, emphasizing figurative expressions, develops in his pupils the ability to notice the beauty and richness of their native language.
When repeating the text, children first imitate the teacher’s expressiveness, but then begin to show some independence in the use of intonation and pauses, thereby conveying their attitude to the poem, their feelings and moods. Of course, creative abilities in expressive reading are manifested here in a very elementary form.
By drawing children's attention to the clarity and distinctness of pronunciation of sounds and words, the teacher develops the sound culture of children's speech and strives for these skills to be transferred to ordinary spoken speech.
In the middle group, work continues to enrich the vocabulary. Like the younger one, here it is necessary to consolidate the words learned in class.
For example, after reading S. Marshak’s poem “Mustachioed and Striped,” ask: “Why is the kitten called that?” To make it easier for children to answer, you can look at a toy kitten, show what kind of mustache it has, and repeat the words mustache-striped.
And then ask another question: “What else can you say about a kitten?
What is he like? (Soft, fluffy, cheerful, mischievous, funny.)
Such consolidation expands children’s concepts about this subject. They also see that words that apply to one thing or being can be applied to another.
This is how active learning of words and concepts occurs. If to
In addition, repeat the words being reinforced, showing a picture, toy, or object to which these words relate, they will become part of the child’s active vocabulary for a long time.
It should be remembered that if, after reading a literary work, you need to fix the name of an object, then the selected objects, cards or toys should be attractive to children; If the quality of an object is established, then it should clearly stand out.
In the middle group, the child continues to prepare to perceive not only emotionally, but also intellectually what he hears. Children get used to choosing words to express their thoughts that accurately convey what they want to say. And this is the basis for the subsequent development of all aspects of speech.
Senior group
The “Kindergarten Education Program” sets the task of developing in children of senior preschool age “the ability to notice certain means of expression when perceiving the content of literary and artistic works.”
Children in the older group are able to more deeply comprehend the content of literary works and understand some of the features of the form that expresses the content, that is, they can already distinguish between literary genres and their characteristic specifics. They easily distinguish between prose and poetry, they say that poems are written well, they can be sung, that is, they notice the rhythmic and metrical organization, the consonance of poetic lines. It is necessary to draw children's attention to the features of genres, then they will become more deeply aware of the artistic merits of literary works.
After reading a fairy tale, it is necessary to analyze it in such a way that children can understand and feel its ideological content, artistic merits, and features of the fairy tale genre, so that the poetic images of the fairy tale will be remembered and loved for a long time.
For example, after telling the fairy tale “Sister Alyonushka and Brother Ivanushka,” you need to ask: “What did I tell you? Why do you think this is a fairy tale? What does it talk about? Which of the fairy tale characters did you like and why? Remember how a fairy tale begins and how it ends. How many of you remember the little goat's song and Alyonushka's answer and can repeat them? What words do you remember most?
These questions are aimed at children’s understanding of the main content and characters of the fairy tale’s heroes, the means of its artistic expression (beginning, repetitions, ending).
When introducing children to the genre of a story, an analysis of the work is necessary that reveals the social significance of the phenomenon being described, the relationships of the characters, and draws children's attention to the words with which the author characterizes the characters themselves and their actions. The questions asked after reading the story should clarify both the understanding of the main content and the ability to evaluate the actions and actions of the characters.
So, after reading E. Permyak’s story “The Hasty Knife,” you can ask: “How did Mitya teach the knife to be patient? What did Mitya himself become? If the children correctly understand the content of the story, they will answer that Mitya himself has become patient and self-possessed, that is, they will independently conclude what qualities his father raised in the boy. By repeating these words, correlating them with the actions of the characters, children will more deeply feel both the content of the story and the words that reflect it.
It is especially necessary to think through questions about the means of artistic expression in stories about nature.
For example, after reading K. D. Ushinsky’s story “Morning Rays,” educators usually pose questions that focus children’s attention only on the sequence of appearance of the rays. “Where did the first ray hit?.. The second?” etc. These questions help the child remember the composition of the story. But this is not enough. Question: “How did the author talk about the lark and what song did the lark sing?” - will make you remember the words: “The lark started up, fluttered out of its nest, rose high, high and sang its silver song.” You can ask why the author called the lark's song silver, and some children will answer that this song is ringing, spring, that's why the author called it that. Similar questions can be asked about a bunny, about a bee collecting honey from fragrant flowers.
Such a perception, when, along with the content, children also assimilate the artistic form, can be called full-fledged, and figurative words and expressions will subsequently become part of their active vocabulary.
Particular attention should be paid to the perception of a literary work in the unity of its content and artistic form when reading poems and memorizing them.
The teacher should read all poems not from a book, but by heart, only then will his listeners understand the expressiveness of intonation, rhythm, and meter. There is no need to immediately set the intention for memorization - this distracts the children’s attention from the music of the verse. Let them first feel the beauty and melodiousness of the poem, and become more deeply aware of its content. After reading, you need to have a conversation to find out whether it was understood correctly.
So, based on I. Surikov’s poem “Winter,” you can ask the following questions: what is the poem talking about? (About winter, about snow.) What kind of snow? (About the first snow.) How does the author describe the forest? (“The dark forest covered itself with a wonderful cap.”) What is snow compared to?
After the conversation, the teacher reads the poem again (if it’s long, then twice) and gives instructions for memorization, since the children have already mastered its content, felt the artistic form, and remembered individual words and expressions.
The teacher decides which of the children is better to call: those who remember the text well, or vice versa. This depends on the content of the poem, its volume, and on the specific tasks of this lesson.
So, each lesson on memorizing poems poses many tasks for the teacher: he must read the poem expressively, pose questions correctly, paying attention to the content and expressive means of the work, teach expressive reading, finding the correct intonations, correctly placing logical stresses, observing pauses, managing his voice (raising or lowering it in the right places).
And children’s reading should show that they not only understand what they are reading, but also know how to convey to listeners their attitude to the work.
The lesson should include (as part of the lesson) repetition of memorized poems so that figurative words and expressions
firmly consolidated the established various associative connections.
In the future, when children move on to independent storytelling, they will use learned words and expressions in their speech, easily transferring them to other content. This will be preparation for the development of the poetic ear of preschoolers.
Objectives and content of introducing children to fiction
Methods of working with fiction in kindergarten
Children's books are considered as a means of mental, moral and aesthetic education. Children's poet I. Tokmakova calls children's literature the fundamental basis of education. 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.” Fiction shapes moral feelings and assessments, norms of moral behavior, and cultivates aesthetic perception.
Works of literature contribute to the development of speech and provide examples of the Russian literary language. E. A. Flerina noted that a literary work provides ready-made linguistic forms, verbal characteristics of the image, definitions with which the child operates. By means of artistic expression, even before school, before mastering grammatical rules, a small child practically masters the grammatical norms of the language in unity with its vocabulary.
N. S. Karpinskaya also believed that a fiction book provides excellent examples of literary language. In stories, children learn laconicism and precision of language; in poetry - musicality, melodiousness, rhythm of Russian speech; in fairy tales - accuracy, expressiveness.
From the book, the child learns many new words and figurative expressions, his speech is enriched with emotional and poetic vocabulary. Literature helps children express their attitude to what they have heard, using comparisons, metaphors, epithets and other means of figurative expression.
When familiarizing yourself with the book, the connection between speech and aesthetic development clearly appears; language is assimilated in its aesthetic function. Mastery of linguistic figurative and expressive means 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. In order to fully realize the educational potential of literature, it is necessary to know the psychological characteristics of the perception and understanding of this type of art by preschoolers.
Peculiarities of children's perception of literary works
Aesthetics and psychology consider the perception of art as a complex creative process. “Aesthetic perception of reality is a complex mental activity that uniquely combines both intellectual and emotional-volitional motives” (A. V. Zaporozhets). A literary work appeals simultaneously to both the feelings and thoughts of the reader, helping him to master the rich spiritual experience of humanity.
E. A. Flerina called the unity of the “feeling” and the “thinking” a characteristic feature of children’s perception of a work of art.
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, “mental action”, resulting in the effect of personal presence, personal participation in events .
In the works of L. S. Vygotsky, S. L. Rubinstein, B. M. Teplov, A. V. Zaporozhets, O. I. Nikiforova, E. A. Flerina, N. S. Karpinskaya, L. M. Gurovich and Other scientists study the peculiarities of the perception of fiction by preschool children.
O. I. Nikiforova distinguishes 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 interest in books appears early. At first, he is interested in turning the pages, listening to an adult read, and looking at the illustrations. With the advent of interest in the picture, interest in the text begins to arise. As research shows, with appropriate work, already in the third year of a child’s life, it is possible to arouse his interest in the fate of the hero of the story, force the baby to follow the course of the event and experience feelings that are new to him.
As mentioned above, one of the features of children’s perception of a literary work is empathy for the characters. Perception is extremely active. The child puts himself in the place of the hero, mentally acts, fights his enemies. At puppet theater performances, children sometimes interfere in events, try to help the hero, and in unison tell the characters what not to do. E. A. Flerina also noted such a feature as 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).
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 the child does not clearly separate life from art, and after five years, when art, including the art of words, becomes valuable in itself for the child (FOOTNOTE: Gurovich L. M., Beregovaya L. B., Loginova V. I. The child and the book. - M., 1992; Gurovich L. M. Understanding the image literary hero by children of senior preschool age: Abstract of candidate's dissertation - L., 1973).
Based on the characteristics of perception, the leading tasks of familiarizing with the book at each age stage are put forward.
Let us briefly dwell on the age-related characteristics of perception. Children of primary preschool age are characterized by: dependence of text understanding on the child’s personal experience; establishing easily recognizable connections when events follow each other; the main character is in the spotlight, children most often do not understand his experiences and motives for his actions; the emotional attitude towards the characters is brightly colored; there is a craving for a rhythmically organized style of speech.
In middle preschool age, some changes occur in the understanding and comprehension of the text, which is associated with the expansion of the child’s life and literary experience. Children establish simple causal connections in the plot and, in general, correctly evaluate the actions of the characters. In the fifth year, a reaction to the word appears, interest in it, the desire to repeatedly reproduce it, play with it, and comprehend it.
According to K.I. Chukovsky, a new stage of the child’s literary development begins, a keen interest arises in the content of the work, in comprehending its inner meaning.
In older preschool age, children begin to become aware of events that were not in their personal experience; they are interested not only in the actions of the hero, but also in the motives of actions, experiences, and feelings. They are able to sometimes pick up on subtext. An emotional attitude towards the characters arises on the basis of the child’s comprehension of the entire conflict of the work and taking into account all the characteristics of the hero. Children develop the ability to perceive text in the unity of content and form. The understanding of the literary hero becomes more complex, and some features of the form of the work are realized (stable turns of phrase in a fairy tale, rhythm, rhyme).
Studies note that in a 4-5 year old child the mechanism for forming a holistic image of the semantic content of the perceived text begins to fully function. At the age of 6–7 years, the mechanism for understanding the content side of a coherent text, distinguished by its clarity, is already fully formed.
The ability to perceive a literary work, to realize, along with the content, the features of artistic expression, does not arise spontaneously; it is formed gradually throughout preschool age.
Objectives and content of introducing children to fiction
Determining the objectives of literary education in kindergarten is essential. The purpose of introducing preschoolers to fiction, as defined by S. Ya. Marshak, is the formation of a future great “talented reader”, a culturally educated person.
The tasks and content of introducing children to fiction are determined on the basis of knowledge of the characteristics of perception and understanding of works of literature and are presented in kindergarten programs.
Generally speaking, these tasks can be formulated as follows:
1. cultivate interest in fiction, develop the ability to holistically perceive works of different genres, ensure the assimilation of the content of works and emotional responsiveness to it;
2. 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;
3. cultivate literary and artistic taste, the ability to understand and feel the mood of a work,
4. capture the musicality, sonority, rhythm, beauty and poetry of stories, fairy tales, poems; develop a poetic ear.
Children also develop the ability to elementary analyze the content and form of a work. A child in a pre-school group should be able to: identify the main characters; based on an analysis of the characters’ actions, express your emotional attitude towards them (who you like and why); determine the genre (poem, story, fairy tale); capture the most striking examples of language figurativeness (definitions, comparisons).
The task of the kindergarten, as L. M. Gurovich notes, is to prepare for long-term literary education, which begins at school. A kindergarten can provide a fairly extensive literary background and literary erudition, since in preschool childhood a child becomes familiar with a variety of folklore genres (fairy tales, riddles, proverbs, fables, etc.). During these same years, children get acquainted with Russian and foreign classics - with the works of A. S. Pushkin, L. N. Tolstoy, K. D. Ushinsky, the Brothers Grimm, H. C. Andersen, C. Perrault and others.
Solving the problem of preparing children for literary education, it is proposed to give them knowledge about writers and poets, folk art, books and illustrations.
Modern variative programs address issues of children's literary development.
To solve the problems of comprehensive education through the means of fiction, the formation of a child’s personality, and his artistic development, the correct selection of works of literature, both for reading and storytelling, and for performing activities, plays a significant role. The selection is based on pedagogical principles developed on the basis of general principles of aesthetics.
When selecting books, it must be taken into account that a literary work must be educational, aesthetic, etc. moral functions, i.e. it should be a means of mental, moral and aesthetic education.
When choosing books, the unity of content and form is also taken into account. Literary criticism distinguishes themes, problems, and ideological and emotional assessment in the content. In literary and artistic form - subject representation (characters, events, actions, dialogues, monologues, portrait and psychological characteristics of heroes), speech structure and composition.
The problem of selecting books to read and tell to preschoolers is revealed in the works of O. I. Solovyova, V. M. Fedyaevskaya, N. S. Karpinskaya, L. M. Gurovich and others.
Several criteria have been developed:
1. ideological orientation of a children's book. Ideology determines compliance with the tasks of moral education, nurturing love for the Motherland, for people, for nature. The moral character of the hero also determines the ideological character of the book;
2. high artistic skill, literary value. The criterion of artistry is the unity of the content of the work and its form. Exemplary literary language is important;
3. 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;
4. entertaining plot, simplicity and clarity of composition;
5. specific pedagogical tasks.
The selection criteria make it possible to determine the range of children's reading and storytelling. It includes several groups of works.
1. Works of Russian folk art and creativity of the peoples of the world. Small forms of folklore: riddles, proverbs, sayings, songs, nursery rhymes, pesters, fables and shifters; fairy tales.
2. Works of Russian and foreign classical literature.
3. Works of modern Russian and foreign literature.
The demands of modern life and pedagogical science force us to constantly reconsider the range of children's reading, supplementing it with new works.
Children's reading range consists of works of different genres: stories, tales, fairy tales, poems, lyrical and comic poems, riddles, etc.
Every year, a lot of new literature for children is published, the release of which the teacher needs to monitor and independently replenish the children's library, guided by the criteria discussed above and a creative approach to choosing books.
