Introducing preschool children to reading fiction

Long-term planning for reading fiction in the preparatory group

Olga Kopylova
Long-term planning for reading fiction in the preparatory group

Month Title of the work Program tasks

September G. Sapgir “Counting books and tongue twisters”

.
Continue to develop an interest in fiction ; replenish your literary baggage with poems and tongue twisters.
Reading and discussion of A. Barto’s poem “To School”

.
Continue to develop an interest in fiction ; replenish your literary baggage with poems;
draw children's attention to expressive means. Cognitive – speech development. Acquaintance with an excerpt from A. S. Pushkin’s poem “Eugene Onegin”
“The sky was already breathing in autumn.”
.
Continue to develop an interest in fiction ; replenish your literary baggage with poems;
Encourage children to be interested in the meaning of words. Cognitive – speech development. Reading and retelling of K. Ushinsky’s work “Four Wishes”

.
Continue to develop an interest in fiction ; develop the ability to meaningfully retell literary texts , practice intonation expressiveness of speech.
October Fairy tale by F. Salten “Bambi”

. Fragments.

Continue to develop an interest in fiction ; replenish your literary luggage with fairy tales; to educate a reader capable of experiencing compassion and sympathy for the characters of the book.

M. Matusovsky’s poem “Where does the Motherland begin?”

Continue to develop interest in
artistic expression ; replenish the literary baggage with poetic works, instill sensitivity to the artistic word .
The story of M. Zoshchenko “Great Travelers”

.
Continue to develop an interest in fiction ; replenish your literary luggage with fairy tales; educate the reader, develop a sense of humor in children, continue to introduce artists .
Reading a poem by D. Kharms “Very, very tasty pie”

.
Continue to develop interest in artistic expression ; replenish the literary baggage with poetic works, develop a sense of humor in children.
November-November Works of poets and writers of Russia. Reading and discussion of Yu. Vladimirov’s poem “Orchestre”

.
Continue to develop an interest in fiction ; replenish your literary baggage with poems;
to educate a reader capable of experiencing compassion and empathy for the characters of the book. Russian folklore. Fable “Listen up, guys”

.
Continue to improve the artistic and speech performance skills of children when reading folk songs - fables;
continue to develop children's independence in organizing all types of games, following the rules and norms of behavior. Reading and discussion of P. Ershov’s fairy tale “The Little Humpbacked Horse”

.
Continue to develop an interest in fiction ; replenish your literary luggage with fairy tales;
to educate a reader capable of experiencing compassion and sympathy for the characters of the book; ensure optimal physical activity throughout the day using physical exercise. Reading the prose work “Broken Wire”

E. Vorobyova.
Continue to develop an interest in fiction ;
to educate a reader capable of feeling compassion and empathy for the characters of the book; continue to develop children's independence in organizing all types of games, following rules and norms of behavior. December A holistic picture of the world, primary value ideas. Literary speech . Verbal art. “The Wolf and the Fox”
(arranged by I. Sokolov - Mikitov)
.
Create interest and need for reading ; replenish your literary baggage with fairy tales ; to educate a reader who is capable of feeling compassion and empathy for the characters of the book, to identify himself with his favorite character ;
develop a sense of humor in children. Reading and discussion of Yu. Koval’s story “Stozhok”

.
Develop an interest in fiction ; learn to retell a text, determine the character of the characters , convey individual episodes in person when retelling;
help understand the actions of the heroes; to educate a reader capable of feeling compassion and empathy for the characters of the book. Introduction to S. Krylov’s poem “The Winter’s Tale”

.
Continue to develop an interest in poetry, replenish the literary baggage with poetry , cultivate an interest in understanding nature through works of art .
Reading children's poems about the Christmas tree, New Year, Santa Claus, Snow Maiden. Continue to develop an interest in fiction ; replenish your literary baggage with poems; to educate a reader capable of experiencing compassion and empathy for the characters of the book.

Jan-var Russian folklore. Reading and discussion of the epic “Dobrynya and the Serpent”
(retelling by N. Kolpakova)
.
To form an interest and need for reading , to replenish the literary baggage with epics ;
to educate a reader capable of experiencing compassion and empathy for the characters of the book. Reading and discussion of the fairy tale “Three Ears of Rye”
(a retelling of a Lithuanian folk tale)
.
Develop an interest in fiction ; learn to retell a text, determine the character of the characters , convey individual episodes in person when retelling;
help understand the actions of the heroes; to educate a reader capable of feeling compassion and empathy for the characters of the book. Reading and discussion of S. Yesenin’s poetic work “Birch”

.
Continue to develop interest in poetry, replenish your literary baggage with poetry ; to cultivate interest in understanding nature through artistic works .
Reading and discussion of the Russian folk tale “The Cockerel – the Golden Scallop and the Millstones”

.
Develop literary speech , introduce literary art, instill an interest in fiction ;
to educate a reader capable of experiencing compassion and empathy for the characters of the book. February Beauty and expressiveness of the language of the work. Poem by P. Voronko “There is no better native land”
(translated from Ukrainian by S. Marshak)
.
Develop interest in fiction , draw children's attention to the expressive means of language;
help to feel the beauty and expressiveness of the language of the work, instill sensitivity to the poetic word. Reading and discussion of the fairy tale by H. -K. Andersen's "The Ugly Duckling"

.
Develop an interest in fiction ; help to understand the actions of heroes, determine the characters ; learn to retell a text, convey individual episodes in person when retelling; to educate a reader capable of experiencing compassion and empathy for the characters of the book.

CHILDHOOD GUIDE

Consultation

"Fiction as a means of speech development of preschool children in the context of the implementation of the Federal State Educational Standard for Education"

Gavrilyuk Anna Vladimirovna,

teacher of MBDOU No. 136,

Murmansk

Children's books are written for education,

and education is a great thing.

V.G. Belinsky

It is difficult to imagine preschool childhood without books. Accompanying a person from the very first years of his life, fiction has a great influence on the development and enrichment of a child’s speech: it 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.

It is no secret that over the past decades a negative trend has emerged in our country: a significant decline in reading books in general and fiction in particular. In our opinion, there are a number of factors that caused this phenomenon.

Firstly, global informatization of the objective space surrounding every person: through the Internet, both children and adults can freely and without much difficulty obtain any data on any topic, including a “compressed” version of any literary work.

Secondly, the dominance of advertising in the media (television, press) , which shapes the child’s idea of ​​pseudo-values ​​in a person’s life. Children know a lot about consumer electronics, cars, cell phones. They are sure that a real Man is a successful businessman, who certainly gets out of a luxury foreign car and gives instructions to his subordinates using the latest model of telephone.

Thirdly, objective economic and financial difficulties lead to the fact that adults are forced to devote all their thoughts and time to earning material wealth . They don't even remember books! Psychologists have proven that it is parents who are role models for children. If parents don't read, they can't expect their children to.

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 both to the content of the literary work itself and to its means of expression . Do not forget that interest in reading can be instilled only if the literature corresponds to the interests of the child, his worldview, needs, and spiritual motivations.

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

Children's perception of literary works in preschool age is quite complex. Each child goes a long way from simple participation in the events depicted to more complex forms of aesthetic perception of a literary work. Psychologists have paid attention to the peculiarities of preschoolers’ understanding of the artistic form and content of literary works - this is the child’s short life experience, concrete thinking, and direct relationship to reality. Aesthetic perception of a literary work occurs as a result of purposeful perception at a certain stage of development.

Already at an older preschool age, children are able to understand the content, idea and expressive means of language, and further acquaintance with literary works will be based directly on the foundation that adults (parents, educators) lay in preschool childhood.

Forming an interest and need for reading (perception) of books, we begin by introducing children to the book corner . The permanent book fund of the corner consists of programmatic and favorite works of children. Once alone, children look at, explore, and study books on their own. When introducing a child to a book, we form a caring attitude towards it (do not tear, do not crumple, do not bend the leaves).

The diversity of the book environment stimulates children’s independent cognitive activity, develops their horizons and the ability to navigate book material.

A child's acquaintance with books begins in early preschool age . These are picture books, screens, toys, books with sound and visual games, theater, gift books with children's folklore, etc. One pattern should appear in all of them: there is more visual material than text.

In the middle group, children continue to be introduced to fiction. The teacher draws the children's attention both to the content of the literary work itself and to some features of the language (some epithets and comparisons, figurative words and expressions). After reading (telling) fairy tales, it is necessary to teach children to answer questions related to the content of the work, as well as the simplest questions about the artistic form. It is very important to formulate questions correctly after reading. This is necessary in order to help children highlight the main thing - the main events of the work, the actions of the main characters, their actions and relationships. Only a correctly posed question can force a child to think, reflect, and come to the right conclusions. When reading poems, they highlight the musicality, rhythm, and melodiousness of the poems, emphasize figurative expressions, and develop in children the ability to notice the richness and beauty of the Russian language.

In the older group , when perceiving the content of literary works, we teach children to notice expressive means.

In the preparatory group, the teacher is faced with the task of instilling in children an appreciation for fiction, books, and the ability to feel an artistic image; develop a poetic ear (the ability to capture the sonority, musicality, rhythm of poetic speech), intonational expressiveness of speech: cultivate the ability to feel and understand the figurative language of fairy tales, stories, poems. It is necessary to carry out such an analysis of literary works in which children learn to distinguish between genres, understand their specific features, and feel the imagery of the language of fairy tales, short stories, poems, fables and works of small folklore genres. Reading literary works reveals to children all the richness of the Russian language and helps them begin to use this richness in independent creativity and everyday verbal communication. At this age, children develop the ability to enjoy the artistic word, and the foundation is laid for the formation of a love for their native language.

Introducing children to fiction gives better results if the efforts of educators and parents are combined. If a child grows and develops in an environment where talking, listening, and reading are the norm of everyday life, he will show curiosity and interest in varied and meaningful information.

Thus, in order to enrich and improve children's speech, it is necessary to create a favorable speech environment and carry out the targeted formation of specific speech skills, enriching the life literary experience of children.

Remember that reading for a preschooler is, first of all, communication. Talk to your child!

Literature:

1. FROM BIRTH TO SCHOOL. Approximate general educational program for preschool education (pilot version) / Ed. N. E. Veraksy, T. S. Komarova, M. A. Vasilyeva. - M.: MOSAIC SYNTHESIS, 2014.
2. A.I. Maksakov, development of correct speech of a child in the family. - M.: Mosaika-Sintez, 2006.
3. V.V. Gerbova Introduction to fiction. - M.: Mozaika-Sintez, 2008.

Interaction between kindergarten and family in the context of the implementation of the Federal State Educational Standard for Preschool Education Formation of the musical culture of preschool children in the context of the implementation of the Federal State Educational Standard for Preschool Education Use of ICT in the educational process in the context of the implementation of the Federal State Educational Standard for Preschool Education Application of TRIZ technology to solve problems of speech development of preschool children >

Reading fiction with children in the preparatory group of kindergarten

Kristina Tovmasyan 08/15/2017 0 8.5k

A teacher of a preschool educational institution must develop an interest in reading fiction in preschool children through games, illustrations and a variety of expressive means and literary genres. In addition, the teacher’s task is to develop monologue and dialogic speech of preschoolers, their socialization and preparation for school. To achieve these goals and objectives, it is necessary to properly plan each lesson.

Fiction as a basic component of social and moral education

One of the basic components in the education and formation of personality is fiction, which acts as a source of moral and aesthetic standards, a translator of the traditions of society and its culture. Performing a cognitive function, fiction broadens the horizons of readers of all ages, shapes artistic taste, and provides emotional experience.

Finished works on a similar topic

Coursework Goals and objectives of fiction in a preschool educational institution 440 ₽ Abstract Goals and objectives of fiction in a preschool educational institution 230 ₽ Examination Goals and objectives of fiction in a preschool educational institution 200 ₽

Receive completed work or specialist advice on your educational project Find out the cost

In the process of becoming acquainted with fiction in preschool age, the child learns about such moral categories as goodness, conscience, justice, honor, sympathy, compassion, duty, courage. Moral education is not achieved by talking to children about morality and virtue. The task of fiction is that when reading it, make children experience the moral moods, actions and feelings of the heroes of the work. And if these moral and emotional states are experienced in the child’s imagination, then the educational goal will be achieved.

Note 1

Fiction is an effective means of developing the moral qualities of an individual.

While reading, the child gets to know the life around him, nature, gets acquainted with the work of people, with his peers, with their joys and failures, experiences and feelings. The literary word has an impact not only on the child’s consciousness, but also on his feelings and actions.

Reading fiction provides an opportunity to compensate for the lack of communication in children, allows them to broaden their horizons and enrich their moral experience. In the process of reading, children develop an emotional relationship to the events described in the work, to the heroes of this work, and also form an attitude towards nature and the people around them.

Works of art always contain some kind of assessment of events. At the same time, in the process of solving the problem of educating moral qualities, it is necessary to use both classical literary works and modern ones.

Works of art open up children to the world of human feelings, arouse interest in personality, in the inner world of a literary character. And having learned to empathize with the characters of works of art, children begin to be more attentive to the people around them, they begin to notice their mood, the mood of loved ones. Then humane feelings begin to awaken, children show the ability to show care and kindness, a desire for justice arises and a protest against unfair treatment of someone.

Thus, reading fiction in a preschool educational institution performs the following tasks:

• Forming in children the idea that books contain a lot of interesting and educational information
• Deepening knowledge about illustrations and their meaning in the book
• Formation of the skill of moral evaluation of a work
• Developing the ability to empathize with heroes

Goals and objectives of the teacher in classes on reading fiction

The educator faces important tasks: the upbringing, training and development of children. Fiction is the best assistant in solving problems. Each specific lesson should:

• train attention and memory;
• develop thinking and speech;
• cultivate interest in intellectual pursuits.

In addition, all the works of art studied are focused on different aspects of a child’s life. The most important for children of the preparatory group are:

• moral education;
• speech development;
• artistic and aesthetic development;
• social and communicative development;
• development of independence, self-service.

For example, the fairy tale “Little Khavroshechka” belongs to the field of moral education. The specific goal of the lesson may sound like this: “Cultivate a kind attitude towards each other.” The Russian folk tale “At the Command of the Pike” refers to the development of independence. By studying it, the educator can set himself the goal of “Explaining the importance of human labor.” Social and communicative development occurs when reading the work of D. N. Mamin-Sibiryak “Medvedko”, the purpose of the lesson on this fairy tale is to introduce the world around us, the planet.

Reading in the pre-school group is given special attention

Reading fiction, discussion, situational conversation - this is how the goals set in the classroom are realized. The teacher does not explain the meaning of the fairy tale immediately after reading it - he gives the children the opportunity to figure it out on their own, helps the children see and understand the problem described, for example, through conversation.

Using a question-and-answer form of communication is the optimal way to develop verbal thinking in preschoolers.

For example, when studying the fairy tale “Geese and Swans”, you can include the following questions in the conversation:

1. Who is the story about?
2. Where are mother and father going?
3. What does a mother ask her daughter to do?
4. How did your daughter behave after her parents left for the city?
5. What happened to brother?
6. Who are geese-swans?
7. What decision does the girl make?
8. Why didn’t the stove, apple tree and milk river want to help the girl?
9. Where did the girl run?
10. Who did she see in the hut?
11. How did the girl manage to save her brother?
12. Why do the stove, apple tree and milk river help the girl on the way back?
13. Can it be that the stove, the apple tree and the milk river are talking to a girl?
14. Where can we find talking animals and talking objects?

A series of questions for a conversation should be structured logically: first, simple questions (based on content), then clarifying, interpretive ("Why..."), evaluative and creative.

It is important to remember that the lesson has one goal, but several tasks.

The teacher solves the following tasks at each lesson:

• educational;
• educational;
• developing.

For example, when studying the fairy tale “The Scarlet Flower,” the following tasks must be solved. Educational: cultivate a kind attitude towards each other. Educational: introduce literature, develop coherent speech, develop listening comprehension of the text. Developmental: develop speech hearing, melodic-intonation side of speech.

Each lesson should have a unique topic and purpose; there may be a subtopic in addition to the main one. Using the example of the fairy tale “The Frog Princess,” we can determine the goal: “Develop the cognitive activity of children, teach to respect other people’s interests,” the topic “Listening to a fairy tale” and the subtopic “Obedience and self-will in a fairy tale...” (moral education). During the conversation, children should understand what obedience and self-will are, how they are expressed, what follows them, how to behave, etc. By motivating children to understand these issues on their own, the teacher will achieve his goal.

Children in the preparatory group should read not only fiction, but also scientific and educational literature

Reading in the preparatory group should be educational. The teacher, developing cognitive interest, raises a conscious reader who, during his school years, will independently motivate himself and read books with pleasure.

Today, during my consultation, I will try to tell you about the impact of reading fiction on the development of all components of children’s oral speech.

Speech development occupies one of the central places in preschool education, this is explained by the importance of the period of preschool childhood in the child’s speech development and its formation. During these years, the child masters the sounds of his native language, learns to pronounce words and phrases clearly and grammatically correctly, and quickly accumulates vocabulary.

This direction is presented in the Federal State Educational Standards of Preschool Education in the educational field of “speech development”.

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.

Fiction is an important source and means of developing all aspects of children's speech. Various genres of literature and folklore works lay the foundation for the formation of love for the native language, its accuracy and expressiveness, accuracy and imagery

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.” But, what is very important, by reading a book to a child, leading him along this path, we contribute to the development of his oral speech.

What components does oral speech consist of?

Nurturing the sound culture of speech Formation of the grammatical structure of speech Formation of the lexical structure of speech (dictionary) Development of coherent speech

Sound culture of speech

Mastering the sound side of language includes two interrelated processes: the formation of a child’s perception of sound language, i.e. formation of phonemic hearing and formation of pronunciation of speech sounds.

Reading books to children serves as one of the conditions for the development of hearing, and on this basis, the acquisition of language.

Small literary forms are great helpers in this - tongue twisters, tongue twisters, riddles, nursery rhymes, poems. They help in working on diction, tempo, volume of speech, development of the vocal apparatus, and improve articulation.

They give, without much edification, norms of behavior that the child masters under the influence of his own positive emotions:

“Ay, okay, okay, okay, We are not afraid of water, We wash ourselves clean, We smile at the children.” (a nursery rhyme)

Grandfather Danil divided the melon -

A slice for Dima, a slice for Dina

(Tongue Twisters)

A gander walked in single file with a gander. The gander looks down on the gander. Oh, the gander will pluck the gander's sides.

(pure language)

Having learned to listen to someone else's speech, the child gains the ability to remember its content and form, and to assimilate the norms of literary speech.

It is very important to pronounce these forms so that children feel the sonority, musicality, rhythm, and imagery of expressions. Pure twisters, tongue twisters, nursery rhymes were probably invented by the people so that children and adults could correctly and clearly pronounce all the sounds of their native language.

“Speak not so much to the ear as to the eye,” advised K. S. Stanislavsky. — in preschool childhood, special expressiveness of an adult’s speech is required when presenting literary material.

Formation of grammatical structure of speech

This is morphology - changing words according to tenses, numbers, genders, persons.

Word formation.

Syntax – construction of various sentences.

Let's take a look at the famous Russian folk tale “The Hare is Boasting.”

It is small, but reading it to children, we show all the richness of the grammatical structure of speech:

formation of plural nouns in the nominative and genitive cases. hare-hares-hares;

formation of nouns with an increasing meaning using the suffix -ish-

not a mustache, but a mustache,

not paws, but paws,

not teeth, but teeth;

the presence of simple and complex sentences: “the hare got scared”, “aunt crow went to look for the braggart and found him under a snag.” And, most importantly, the discussion of the heroes of this fairy tale, their actions, will force children to express all the diversity of grammar. After all, the fairy tale is very “juicy” and good for discussion with children. I want to say a lot about such heroes as the crow and the hare, using a variety of words and sentences, putting a semantic connotation into them. Our literature is rich in such tales. The main thing is to introduce children to them!

Formation of the lexical structure of speech (dictionary)

This is the enrichment of children's vocabulary, its activation, clarification of the meanings of words, as well as the content side of the word.

Vocabulary can be passive or active. Passive vocabulary is those words that the child understands. Active vocabulary is the words that the child speaks. An active, rich vocabulary indicates a person’s level of intellectual development. By reading fiction to children, we introduce children to words that are completely new to them and not common in everyday communication.

In this case, the teacher takes full responsibility for explaining the words, helping children enrich their speech. Fairy tales, poems, stories are used for this. They are unusually rich in phraseological units and figurative expressions of colloquial speech. For example, “black horse”, “crackling frost”, “well done Sagittarius”, “visibly and invisibly”, “jack of all trades” and many others characterizing human behavior and natural phenomena. A child, constantly hearing similar expressions in the text of a fairy tale, makes them part of his own speech.

But, there are other literary forms that force the child to see the secondary meanings of words, to form their own ideas about the figurative meaning of the word, its polysemy. These are riddles!

A riddle is a game of recognition, guessing, exposing what is hidden and hidden. And the riddle is loved and interesting by the child. By playing riddles, the child seems to be passing an exam on knowledge and intelligence; is he well acquainted with the world around him? Does he know the signs, qualities, properties of objects and phenomena? A riddle, according to K. D. Ushinsky, “provides a useful exercise for the child’s mind.” Guessing riddles requires careful observation of objects and phenomena surrounding a person.

It is much more difficult for a child to guess a metamorphic riddle than a descriptive one. This is explained by the difficult understanding of the figurative structure of the riddle language. Therefore, it is necessary to teach the child to perceive the figurative content of riddles and explain them.

For example, in addition to the main meaning of the verb go (“to move”), the child is aware of others: a mechanism operates, “They go around the clock, they don’t stand for a minute, but everything is in one place” (“the clock is passing”); “Look out the window: it’s moving.” long Antoshka” (it’s raining).

Or, posing a riddle to children: “Grandfather builds a bridge without an axe.” Children guess - “Frost”. I ask, how did you guess that it was frost? What bridge is he building? Why do they say this? Then I make another riddle about frost and ask you to pay attention to the words used about it:

At night the glazier came into the yard and glazed every puddle with ice. In the morning the sun rose over the city, this glass instantly melted. At night the glazier will come again, He will look at the puddles, he will clasp his hands, He will threaten someone in the darkness with a stick, He will glaze every puddle again.

Which riddle did you like best and why? With the children, we select definitions for the word “frost” and recall other riddles on this topic. Later, when children understand the genre features of riddles, you can invite them to come up with riddles about objects and phenomena using

diagrams, mnemonic tables, algorithms.

Development of coherent speech

We would really like every child to be able to express their thoughts meaningfully, competently, correctly, coherently and consistently.

When talking about working on coherent speech and fiction, we, first of all, turn to fairy tales, poems, and stories. We rely on them in retellings, descriptions, learning poems, dramatizations, and inventing endings (fairy tales, short stories).

When retelling fairy tales and stories, children need to answer questions related to the content, the relationship of the characters, and pay attention to the words with which the author characterizes the characters themselves and their actions.

A correctly posed question forces a child to think, reflect, come to the right conclusions and at the same time notice and feel the artistic form of the work.

Thus, as a result of learning basic analysis of the features of a literary text, speech is improved (vocabulary, coherence, grammatical correctness, sound culture, imagery),

At the same time, it is enriched by the words and expressions he remembers.

Reading literary works brings to the consciousness of children the inexhaustible wealth of the Russian language, and contributes to the fact that they begin to use this wealth in independent activities - verbal creativity.

Speaking about coherent speech, we cannot help but talk about memorizing poems.

When memorizing poems, we highlight the rhythmicity, musicality, melodiousness of poems, developing in children the ability to notice the beauty and richness of the Russian language, we draw children's attention to the content, teach expressive reading, finding the right intonation, correctly placing logical stress, observing pauses, controlling their voice ( raising or lowering it in the right places).

A talentedly written poem with the power of the beauty of its style will help a child see and create an image, for example, “White Birch” by S. Yesenin.

The white birch tree under my window was covered with snow, like silver.

On the fluffy branches, like a snowy border, white fringed brushes blossomed.

And the birch tree stands in sleepy silence, And the snowflakes burn in golden fire.

And the dawn, lazily walking around, sprinkles the branches with new silver.

In a drawing class, any child will see a winter birch tree like this.

Poems teach children to listen to words and sounds - phonetic hearing develops, this is necessary to prepare for reading and writing, this is a model of grammatical and lexical speech.

Nothing develops oral speech more than children’s theatrical activities. It affects the degree of language acquisition and the expressiveness of children’s speech.

Fiction provides rich material for artistic and speech activity. Children act out nursery rhymes, poems, and fairy tales that they know, using elements of costumes and with the help of various types of theaters.

Conclusion.

In the era of computer games and an abundance of toys, children are less and less interested in fiction. However, we should not forget that it is precisely this that partially ensures the cultural development of the child and the formation of his speech.

Reading is important and necessary. This has a beneficial effect on the development of coherent speech, enriches speech with popular expressions, phraseological units, and synonyms. Without reading, a person does not develop, does not improve his memory, attention, imagination, does not assimilate and use the experience of predecessors, does not learn to think, analyze, compare, and draw conclusions.

The ability to understand a literary work (not only the content, but also elements of artistic expression) does not come to a child by itself: it must be developed from a very early age. In this regard, it is very important to teach children to listen and perceive a work of art.

The teacher must be competent in matters of children's reading, must be able to use various means, techniques, methods in order to make children's acquaintance with literature as vivid and interesting as possible.

The teacher faces an important task - each work must be conveyed to children as a work of art, reveal its intent, infect the listener with an emotional attitude towards what they read: the feelings, actions, lyrical experiences of the characters.

In this regard, it is very important to develop in children the ability to actively listen to a work, to listen attentively to artistic speech. Thanks to these skills, the child will develop his own bright, imaginative, colorful, grammatically correct speech.

I would like to wish all teachers that the children in the group are drawn to reading. And at any age, at the words “let’s read with you, guys,” rattling chairs and happily talking, they sat down to listen to His Majesty – the Book!

Motivating preschoolers in the classroom

In pedagogy, there are four types of motivation for older preschoolers:

1. Gaming. It will help the child shift the focus away from the technical difficulties of the reading process. Didactic games: “Reading fables”, “The word is lost”, “Recognize the hero”.
2. Helping an adult. It is based on the desire to communicate with an adult, because he will approve and show interest in joint activities. For example: take images of fairy tale characters and ask the children to help you choose or draw outfits (a sundress for a fox, a shirt for a bear).
3. “Teach me.” It is based on the desire of every student to feel smart and capable. For example: if a child knows a fairy tale, tell him that you forgot the sequence of actions or do not understand the actions of the characters. This way he will be more confident in discussing the material being studied.
4. "With my own hands." Internal interest in making something as a gift for yourself or for your family. Drawings, crafts, postcards - all this can be done during reading lessons, but children must voice all their actions.

As a motivating start to a lesson in reading fiction, you can use games, illustrations to a work, riddles, or a problem situation. For example, when studying the Russian folk tale “The Fox and the Jug,” the teacher can show children pictures of a fox, a jug, a river, and use elements of theatricalization and games to develop intonation (fox exclamations).

Questions for conversation:

1. What is this tale about?
2. How did the fox get into the jug?
3. How did she talk to the jug at first?
4. What words did she say?
5. How did the fox start talking later?
6. What words did she say?
7. How does the fairy tale end?
8. What kind of fox is shown in this fairy tale and where can it be seen from?

To expand and enrich the vocabulary, you need to discuss the words: greed, stupidity, kindness.

Games to develop intonation:

• Guess the intonation;
• Say it kindly;
• Say it angrily.

When studying L. N. Tolstoy’s story “The Bone,” you can also use images of the main characters, plums, elements of theatricalization, and didactic games (“Brew compote”). Issues that need to be discussed with children: honesty, fighting temptation, love for family, ability to confess, tell the truth.

Materials for the introductory stage may be different, it all depends on the interest and imagination of the teacher. For example, when studying the Brothers Grimm fairy tale “Mistress Blizzard,” children will be attracted and motivated by music. When studying the Tatar folk tale “Three Daughters,” you can use riddles (about mother, sisters, squirrel, bee) to introduce the characters and include them in active activities.

• Who is the cutest in the world? Who do children love very much? I will answer the question directly: - Our dearest... (mother).
• Who loves both me and my brother, But loves to dress up more? - Very fashionable girl - My eldest... (sister).
• From branch to branch Jumps, frolics, Agile, agile, And not a bird. (Squirrel).
• Flew over the flowers, Flew over the fields. She buzzed merrily. I picked up some nectar. And she took the prey straight to her house... (bee).

How to teach reading fiction, or a philological approach to literary text

The art of reading can make an excellent professor of literature. V. Ostrogorsky

Fiction is of interest to scientists of various specialties: not only literary scholars and linguists, but also psychologists, sociologists, historians, etc. However, before studying a literary work, you need to... read it.

And everyone here is a professional in the humanities, representatives of other specialties, as well as people without special higher education, etc. - are equal: at the first (not necessarily one-time) acquaintance with a literary text, any of us is a READER. Of course, depending on your individual experience, you can be a skilled reader, that is, have mature reading skills, or you can just begin to learn the difficult art of reading fiction.

Determining the goal. The task of teaching how to read fiction is relevant for various forms of education: secondary schools, training philology students, etc. It is, to one degree or another, declared and implemented in the practice of teaching Russian literature and Russian as a native language, as well as in teaching the Russian language and Russian literature foreigners.

For the methodology of teaching Russian as a foreign language, a literary text is a favorite teaching material. Various types of educational analysis (interpretation or interpretation) of a literary text have been developed: literary criticism, linguistic-stylistic, linguistic, linguistic-cultural, etc. As a rule, they transfer to the classroom methods of studying (researching) a literary text from the perspective of the relevant science. And this, in our opinion, ... “puts the cart before the horse.”

Since you can only study (research!) a previously understood text. Analysis, i.e. cognition of a text in the categories of a particular science is not a means of directly perceiving/understanding the text, but it can deepen existing understanding, fit the text into a broad scientific - literary or cultural - context, etc. Practice shows that in classes on the analysis of literary texts, foreign language students are more often familiar with ready-made options for interpreting literary works than analyzing the text on their own, and in an extracurricular situation, if they need to read/understand an unfamiliar literary text, they experience significant (often insurmountable) difficulties, they simply do not know - where to begin.

Thus, the goal of working with fiction texts should be formulated as follows: teaching independent understanding of texts . The set goal will determine both the principles for selecting text material and the organization of work on it, as well as the final result of educational activities.

Literary text or artistic work For further discussion, it is necessary to distinguish between two objects: artistic text and artistic (literary) work, because failure to distinguish them leads to confusion.

A literary text is, according to Yu.M. Lotman, one of the components of a work of art, far from the only one, but “an extremely essential component, without which the existence of a work of art is impossible” [Lotman 1972:24].

Let us allow ourselves a self-quote and define a literary text as: “the material embodiment of a work of fiction; its verbalized (i.e. expressed in words), recorded in written form content; the total - from the first letter of the first word to the last period (or other punctuation mark) at the end of the last page - the linguistic expression of a literary work" [Kulibina 2000: 54].

In addition to the literary text, a work of art also includes all its variants and sketches, the history of creation, known or alleged prototypes of heroes, events, etc., certain evidence of the author’s intention, authoritative critical analyzes and literary analysis of the themes and ideas of the work, various interpretations of the literary work. works (famous theatrical productions, film adaptations, etc.), etc. A work of art understood in this way does not have clearly defined contours; it can be modified, supplemented, etc. Of course, the entire amount of information that makes up a work of fiction is accessible only to specialist literary critics. And even then, in any case, the question of the completeness of known information in relation to an object - a work of art - can only be resolved relatively.

Any reader (a specialist literary critic can also play this role) first of all deals with the text of a literary work, an artistic text. And you must form your opinion about it, formulate for yourself its personal meaning based on what the author SAID in the text. Those. we can talk about the self-sufficiency of a literary text: it contains everything that is necessary for its understanding, and there is no need for additional comments of various types, explanations, reference texts, etc.

An important methodological conclusion follows from the above: the material for learning to read fiction is a literary text . This or that amount of information related to a work of art (but not included in its literary text) can be presented to students after the text is independently understood by them. Otherwise, prematurely acquired knowledge (“ready-made understanding”) will interfere with the process of semantic perception of the text1.

For a writer, a text is never complete: “a writer is always inclined to refine, complete. He knows that any detail of the text is only one of the possible implementations of a potential paradigm. Everything can be changed. For the reader, the text is a cast structure, where everything is in its - the only possible - place, everything carries meaning and nothing can be changed" ([Lotman 1999:112]; our italics - N.K.). According to Yu.M. Lotman, a literary text should be perceived, first of all, “as a message in a natural language.” This will be the basis for its further comprehension as a work of art. Based on this authoritative opinion, we consider a literary text as a communicative unit, a means of communication in a given language, however, a special means in which the language implements not only communicative, but also aesthetic functions.

Principles for selecting literary texts Based on the stated goal - teaching the understanding of literary texts, the principles for selecting text material (fiction texts!) can be formulated as follows: the literary text should be such that the potential reader, firstly, wants and, secondly, can understand him.

1. The interest of the student (potential reader) is important because it creates an internal motive for the activity, due to which the activity itself (despite the difficulties of its implementation) becomes more attractive and effective. Any teacher can give examples of how lively and interesting a lesson can become if the personal (internal) motives of students are affected. Here it is necessary to take into account the age, gender, and often national, as well as social and other characteristics of the audience. Therefore, in principle, there cannot be lists of literary texts that are required reading: what goes well with one audience may be absolutely uninteresting for another.

However, we will allow ourselves one recommendation based on many years of experience: foreign language students, as a rule, are interested in what is now relevant for Russian readers, i.e. First of all, books by contemporary authors. All our educational materials are methodological developments for lessons in RFL texts by contemporary writers [Kulibina 2001; 2004; 2008a]. The textbook “Reading Poems of Russian Poets” (2014) also includes poems by poets of the second half of the twentieth century (B. Okudzhava, N. Rubtsov, I. Brodsky, etc.)

2. The accessibility of a text for a potential reader is usually understood as the correspondence of the reader's level of language proficiency to the linguistic complexity of the text being read. In our opinion, this is true only with regard to grammar. A mandatory requirement is that the text must contain only grammar familiar to the reader.

Regarding vocabulary, this requirement is by no means unconditional, as the classic phrase of L.V. Shcherba (“Glokaya kuzdra…”) and the linguistic fairy tales of Lyudmila Petrushevskaya “Battered Pussies” convince us of. Next, we will focus on how the reader can overcome lexical difficulties when reading.

An important aspect of text accessibility is also that the reader understands the situation of the text, or, as psycholinguists say (for example, T. van Dijk), that a model of this situation, known to him based on previous life or reading experience, is presented in the reader’s mind.

Among other requirements for the text used for teaching reading fiction, it should be noted the time required to understand it, or more precisely, the time required for classroom work aimed at understanding it. The text should be such that work on it can be completed in one day’s lesson (45 minutes, 1 hour 30 minutes, etc.). Naturally, understanding the same text may require different times in different groups.

Organization of work on a literary text Traditionally, educational work on a literary text consists of three stages: pre-, pre- and post-text. Most methodologists agree on this, but each one determines in his own way at what stage, what and how should be done.

For us, the stage of textual work is a priority, because It is at this stage that the actual reading takes place, i.e. perception, understanding and experience of a literary text. If, under certain conditions (for example, lack of classroom time), the pre- and post-text stages of work can be reduced to one or two questions, or even omitted altogether or performed as homework, then text-based work must be carried out in the classroom to the fullest extent possible.

In order to present classroom work on a literary text as a system (and not an arbitrary set of randomly selected tasks), we will sequentially dwell on all stages of work: pre-, pre- and post-text.

1. Pre-text work. When working on a literary text, you should focus on the actions of a native speaker reader. Turning to our own reading experience, we cannot help but notice that the beginning of reading a book is usually preceded by a certain moment when we have a desire to read this particular book.

Consequently, the main goal of pre-text work is to make the foreign reader want to read the proposed text. One possibility is to interest the potential reader in the author's personality.

Pre-text work can be done in class or at home. Each teacher, at his own discretion, can add something of his own, something that may be of interest to his audience. In our opinion, at the stage of pre-text work you should not: - talk about the work itself, because then it is no longer interesting to read, - invite students to complete language tasks (“remove language difficulties”), because Almost all, for example, lexical difficulties can be overcome during the reading process (i.e. at the textual stage); in any case, it is worth trying to overcome them on your own (how to do this will be discussed further).

2. Text-based work. The main goal of text-based work is independent semantic perception (including experience, i.e. perception at the level of ideas) by the reader of a literary text. This goal can be achieved by modeling the processes that occur when reading fiction in the mind of a native reader.

Most of these processes in natural conditions occur subconsciously, in a reduced form; the reader sometimes does not realize on the basis of what data he comes to certain conclusions or why certain images appear in his imagination. However, if while reading a native speaker encounters any difficulty (linguistic, semantic, figurative), he tries to overcome it with the help of a linguistic guess, i.e. “launches” the reflexive mechanism using one or more (one after another) cognitive operations (strategies).

Reading a literary text by a foreign speaker is not least characterized by the fact that he much more often has a need to overcome various difficulties (which is quite natural) and, therefore, he needs developed language reflection skills (in conditions of reading in a foreign language). The situation is made easier by the fact that the mechanisms of linguistic guesswork (language reflection) are universal, and we are not talking about the formation of new skills, but about creating conditions for the positive transfer of existing ones (formed by reading in the native language).

2.1. If a literary text offered for reading has a title, it is necessary to pay attention to it: invite students to build a reading forecast, think about what a text with that title might be about. Reading is controlled by so-called anticipation, i.e. We, wittingly or unwittingly, but inevitably predict the development of events in the text; this is a pattern of mature reading. As a rule, it is impossible to fully reveal the meaning of its title before reading the text. You don’t need to do this in a lesson either; you should limit yourself to what the name itself allows you to do, i.e. its meaning, not its meaning.

A short text (for example, a short poem) can be presented to students directly in the classroom. It is advisable to invite students to read the story at home either without a dictionary, or, on the contrary, to try to cope with difficulties in the traditional way (check it in a dictionary) and see what comes of it. In any case, the text should be heard in the audience.

It is not necessary to read the entire text at once; you can present the text to students in fragments. In this case, after reading the fragment, it is discussed, guided by the teacher’s questions2. You should not ask students to read the text aloud; at this stage, such a task is ineffective: unprepared reading with many errors will not be useful and will not bring pleasure to either the one who reads or the one who listens.

The text can be read by the teacher or heard in a special educational audio recording (but not in the author's or actor's performance).

2.2. Understanding a foreign language and foreign cultural literary text is not an easy task for the reader. In order for students’ activities to be more effective, it is advisable to divide it into parts (this heuristic technique, coming from Descartes, can be very useful in this case). In our practice, the text is divided into small fragments (minimum - one sentence), relatively independent in semantic terms, on which work is carried out (in a poetic text this can be a line or stanza, in prose - one or several paragraphs).

The content of any literary text can be considered as the author's interpretation of a certain situation. The situation is one of the most important supports used by the reader when perceiving the text. The reader understands the text if he understands the situation discussed in the text.

As a rule, in a literary text it is not a static situation that is presented, but its dynamic unfolding, in other words: the general situation of the text is made up of a sequence of mini-situations (the maximum possible number of which is equal to the number of sentences in the text).

During classroom work, it is not always possible to use all the mini-situations that make up the overall situation of a literary text, for example, a story, and therefore it is necessary to make a strict selection, highlighting only the main points (semantic milestones). These must certainly include those mini-situations that reflect the main characteristics of the general situation of the text: who (subject/subjects), what is doing (event/events), where (place) and when (time).

The experience of practical educational work shows that the reader’s orientation in the characteristics of the character, the place and time of the events described, etc., as it were, “launches” the mechanism of the reader’s creative (intellectual and emotional) activity. Linguistic means of expressing the main characteristics of the situation (for example, character nominations) are the key units of the text.

2.3. Within the framework of a fragment (mini-situation), work begins with attracting students’ attention to one or another key unit of the text, because According to psychologists, the initial moment of understanding is always the awareness of misunderstanding.

2.3.1. After the attention of students in one way or another (from direct pointing to an object to more complex formulations of questions and tasks) is drawn to the key unit, it is necessary to make sure that its linguistic meaning is known to students. If an unfamiliar word is encountered, tasks guide students to independently identify its meaning, i.e. on the use of various cognitive strategies (or linguistic guesses of different types): based on the grammatical appearance of the word, on the syntactic structure of the sentence, on the composition of the word, on context, etc. 3

However, knowing only the meaning of a linguistic unit does not guarantee the reader understanding of the text, because it is important to understand its textual meaning. To clarify the meaning of a text unit in text-based tasks, the following techniques (cognitive strategies) can be used: selection of synonyms with subsequent analysis of the differences in their meanings, reliance on artistic context, involvement of background knowledge, as well as common sense, etc. 4

These two stages (understanding meaning and meaning) constitute a single conceptual level of understanding the text, the achievement of which is sufficient when working on any non-fiction text.

2.3.2. The perception of a literary text will be incomplete if the conceptual level is not supplemented by perception at the level of ideas.

In the process of reading, units of a literary text - verbal images - are transformed in the reader’s mind into reader’s representations, which can be visual, auditory, emotional, etc. Thanks to representations, the reader’s projection of the text acquires flesh and blood, becoming not a dead imprint, but a living, dynamic picture.

Each reader has his own methods of recreating the reader’s ideas, characteristic of his style of perception, so the task of the teacher at this stage is not so much to teach new things, but to awaken the reader’s creative activity, to intensify his own creative activity. This goal can be achieved by tasks that invite the foreign reader to imagine what he is reading about and to describe the images and ideas that arise in the imagination.

Such work encourages the reader to emotionally experience the images of the text and further to aesthetic emotions, which lay the foundations for the aesthetic perception of a literary text. Special tasks aimed at the reader’s perception of a literary text as a work of art are not required.

Thus, work on each key unit is based on a single algorithm: from linguistic meaning to textual meaning and reader’s understanding. The sequence of work on key units is dictated by the text itself, i.e. depends on the order in which they appear before the reader (from the first fragment/mini-situation to the last).

It is desirable that after working on each fragment/mini-situation of a literary text, students are given the opportunity to listen to it (in a recording or reading by the teacher).

2.4. After finishing working on the text in fragments/mini-situations, it is advisable to read the text in its entirety again and/or listen to its full sound recording. It is advisable to use questions for the entire text, asking students to comprehend everything they have read, draw conclusions, evaluate, etc., as homework (written or oral), because To carry out these cognitive operations, the reader (even a native speaker, and even more so a foreign speaker) needs a certain amount of time.

3. Post-text work. This stage of classroom work, but in our opinion, is optional, because if the textual work was carried out correctly, then “the influence of the read work on the reader’s personality” (O.I. Nikiforova) occurs regardless of whether the appropriate instructions are given or not, otherwise all the “controlling” tasks will not give the desired effect.

And yet, post-text work can be carried out either in the classroom or at home.

At this stage, students are offered generalizing tasks so that they can express their understanding of what they read, their own opinion about the text, as well as tasks that suggest connecting, for example, statements (opinions, ideas, etc.) of the author in the interview they read (pre-text work) with how it is implemented (or reflected, etc.) in a literary text, etc.

Students can get acquainted with additional texts that allow them to develop or deepen the topic, or get to know the author better, etc.

At this stage, it is possible to use educational and professional translation, any forms of visualization and other techniques and means that the teacher deems appropriate and useful.

The result of the reader's activity Thanks to both conscious efforts and unconscious actions of the reader, the totality of text meanings (i.e. the meanings of key units of the text) and reader ideas, as well as connections between them, extracted by the reader from the text, turns into a certain system, the core of which can be comprehended and expressed as the meaning of the literary text read, personal meaning is the result of the activity of a particular reader.

As practice shows, the described technique can be used by any foreign audience interested in fiction in Russian. Individualization of the educational process is achieved by selecting texts, poetic and prose, that correspond to certain (age, national, professional, etc.) characteristics of the audience.

No preliminary familiarization of students with the “rules of the game” is required: when working on a text (which a foreign reader perceives as a “simple” discussion of what they read, thinking about what, how and why it is said), the teacher, formulating tasks, can easily make do with the known students with language and speech material.

Lessons using the proposed methodology can 1) be included in the language educational process (the “Speech Development/Practice” aspect) as needed (once a month or with another degree of regularity, as well as from time to time, for example, as a “gift” for a holiday - “Christmas” by I. Brodsky); 2) form a cycle, for example, as part of the course “Reading Fiction”. With sufficiently long training, students develop and improve the skills of independent reading of texts (and not only literary ones).

Now let's look at a practical example. Let's take one of the textbook poems by A.A. Blok.

1 Night, street, lantern, pharmacy, 2 Meaningless and dim light. 3 Live for at least another quarter of a century - 4 Everything will be like this. There is no outcome. 5 If you die, you’ll start over again, 6 And everything will repeat itself as before: 7 Night, the icy ripples of the canal, 8 Pharmacy, street, lantern. October 10, 1912

Understanding this poem (like any other literary text) involves answering the following questions:

Who is the text talking about? Who is his hero/heroes? What is he/they doing? What event/events are/are being described? Where is it all happening? When?

But it is not enough to simply find words in the text that answer these questions. You have to think: why is it said this way and not otherwise?

The order of work on this poem can be as follows5 (omitting the pre-text stage, we will focus on the pre-text work).

Teacher: - Read the first two lines of the poem. Find in them answers to the questions: when and where does the event described in the poem take place?

Possible student answers6: - Night. - City (street).

Teacher: - Why do you think the lantern and the pharmacy are mentioned?

Possible answers: - The lamp may be on. — The pharmacy sign is on. — Light in the pharmacy window. There - on the window - it says pharmacy.

Teacher: - What kind of light do you think is spoken about in the second line?

Possible answers: - This is the light of a lantern. — Pharmacy window light.

Teacher: - Why do you think the light is called meaningless and dim7?

Possible answers: - There is no one on the street. It is unclear for whom it shines. — The light is weak. Unpleasant. - Nobody. There's no point in shining. - Pointless consumption of electricity.

Teacher: - Who do you think sees and describes this picture: Night, street, pharmacy...?

Possible answers: - Author. - Poet. - Human.

Teacher: - Can we understand his condition, what he feels, what is in his soul?

Possible answers: - He doesn't sleep even though it's night. - He feels bad, sad, that’s why he doesn’t sleep. - Something happened, and now there is no point...

Teacher: - Read the third and fourth lines of the poem. How do you understand them? Who is the poet talking about? How - in other words - can the meaning of the third line be conveyed? Is the expression Exodus no clear?

Possible answers: - You live... - If you live another 25 years. - This is a generalization: if you live another quarter of a century... The poet speaks about himself and any person. — If nothing changes in life, it’s bad. - No matter what you do, you won’t change anything. - Exodus, maybe this is the way out? No exit. - He feels very bad... And scared.

Teacher: - Read the fifth and sixth lines. How can you understand them?

Possible answers: - If you die, will you start all over again? Unclear! - Maybe he thinks that death will not change anything? - Death won't help. - He feels very bad. - He suffers... - And no one can help him. 8

Teacher: - Read the poem to the end. Notice that the last lines almost repeat the first two. What new does the reader learn and what conclusions can he draw?

Possible answers: - New information ice ripple channel. Cold. - This is winter. - No, autumn. The poem was written on October 10. - Ripple means the wind is blowing. Cold wind. — There is a canal in this city. Maybe this is St. Petersburg. — Or Venice? - If Blok, then Petersburg!

Teacher: - Why do you think the poet begins and ends the poem almost the same? Possible answers - There is no outcome. - Nothing can be changed. - The circle is closed.

Teacher: - Read the poem in its entirety. How do you imagine his character? Where is he located?

Possible answers: - He looks like Blok. - This is a man. Poet. - He's not on the street. - He is in the room. Standing at the window. - Looking out the window. He sees an empty dark street at night... - The lantern sways in the wind. - It's dark in the room. He is alone. - He's lonely.

Teacher: - What do you think this poem is about?

Possible answers - About a lonely person. - About loneliness. - About longing.

What can you call this work on the text of a poem? Linguistic analysis? Yes and no. Yes, because we parsed words, sentences, i.e. linguistic units. No, because the main thing was not the linguistic meanings of these units, but those meanings that arise on their basis in this artistic text, i.e. we are dealing with text units. We also talked about those ideas and images that arise in the reader’s mind when reading this poem by Alexander Blok. So, maybe this is literary analysis? But we did not use literary terminology and, perhaps, our analysis will seem amateurish to a literary scholar.

The main objective of the methodology we propose is for students to master the skills of independent work on text, learn to effectively use the necessary cognitive strategies at all levels of perception of a literary text, and thereby gain “open access” to everything that has been created, is being created and will be created by writers and poets in Russian

What are the specifics of the proposed approach? For us , the text was the original reality . We approached it from a single philological position (simultaneously the point of view of language and literature) and were focused on the reality of the entire text . Our efforts were aimed at realizing the possibilities of human understanding .

Philology - the art of understanding what is said and written, or the service of understanding - helped us fulfill one of the main human tasks - to understand another ... (the highlighted words belong to S.S. Averintsev [Averintsev 1990: 545]). Thus, we can say that the methodology we propose for teaching reading fiction implements a philological approach to literary text.

Literature:

Averintsev 1990 - Averintsev S.S. Article Philology // Linguistic encyclopedic dictionary. M., 1990. Kulibina 2000 - Kulibina N.V. Literary text in linguodidactic comprehension. - M., State. IRE, 2000. Kulibina 2001 – Kulibina N.V. Why, what and how to read in class. – St. Petersburg, Zlatoust, 2001. Kulibina 2004 Kulibina N.V. Written by women. A reading guide for students of Russian as a foreign language. – M., Russian language. Courses, 2004 Kulibina 2008- Kulibina N.V. We read Russian in class and at home. Book for the student. - Riga, RETORIKA-A. 2008. Kulibina 2008a Kulibina N.V. Reading in Russian in Russian language lessons. Book for teachers. - Riga RETORIKA-A. 2008. Kulibina 2014 - Kulibina N.V. We read poems by Russian poets. Textbook for students of Russian as a foreign language (7th edition) - St. Petersburg, Zlatoust, 2014. Lotman 1972 - Lotman Yu.M. Analysis of poetic text: Structure of verse. - M., 1972 Lotman 1998 - Lotman Yu.M. Inside thinking worlds. Man – text – semiosphere – history. - M., Languages ​​of Russian Culture, 1999.

Author: Natalya Vladimirovna Kulibina,

Dr. ped. Sciences, Professor of the State Institute of Russian Language named after. A.S. Pushkin.

Moscow, Russia

1 Similar to how uninteresting and even pointless it becomes to read a detective story if you already know who the criminal is.

2 See educational materials in [Kulibina 2001; 2004; 2008a; 2014].

3 For more information about cognitive strategies, see [Kulibina 2000; 2001; 2008a].

4 For more details, see ibid.

5 Before reading a poem, students should not be told anything about its content so that they have the opportunity to draw their own conclusions.

6 Here and below, under the heading “Possible student answers” ​​(hereinafter referred to as “Possible answers”), real student answers recorded in lessons are used. In some cases, the answers received in different groups are shown side by side; this is done to make the students’ train of thought more clear, because not always every stage of reasoning is verbalized, i.e. formalized by the participants in the discussion as a speech utterance

7 If there are doubts that students know the lexical meanings of the words meaningless and dull, you can invite students to use one of the cognitive strategies [Kulibina 2001] to establish the meaning of an unclear word. In the first case, this is a reliance on the composition of the word, on the known prefix bes- and the root meaning-, which allows one to draw a conclusion about the meaning of the entire word, and in the second, on the reader’s extralinguistic knowledge of what the light of a lonely lantern on a dark street is like, as one might call its (dull, weak, etc.)

8 We believe that students should not be required to provide a deeper interpretation of these lines; it is enough if they understand the state of the lyrical hero of the poem (the poet himself?) and sympathize with him.

Lesson structure

Each lesson with children must comply with the structure of the Federal State Educational Standard for Education and consist of the following parts:

1. Introductory part (creating motivation).
2. Creating a problematic situation.
3. Main part.
4. Activity analysis (after each activity).
5. Physical education session (one or more).
6. The final part (solving a problem situation).

When working with preschool children, you need to plan the lesson very competently. To make it as productive as possible, it is necessary to alternate different types of activities. In addition to reading fiction, you can use play, movement or communication activities.

You can not only read your favorite fairy tale, but also play it

For example, one of the mandatory elements of each lesson is physical education. It helps children take a break from vigorous activity, prevent fatigue, improve their emotional state, etc.

Forms of physical education sessions:

• general developmental exercises;
• outdoor game;
• didactic game with movements;
• dancing;
• movements while reading a poem.

In classes on reading fiction, the teacher can use any of the above forms, but most often movements while reading a poem are used as physical education.

An example of a physical education lesson for reading a poem

In addition, you need to draw up a time plan for the lesson. The teacher must remember that a lesson that lasts more than thirty minutes is ineffective.

The structure of a reading lesson and time plan for the senior group.

1. Introductory part. 1–2 minutes.
2. Creating a problematic situation. 2–3 minutes.
3. Main part. 23–25 minutes.
4. Final part. 2–3 minutes

Topic index

Card indexes of fiction are compiled according to different criteria. For example, on lexical topics: fruits/vegetables, trees, bread, seasons, mushrooms/berries, birds, domestic/wild animals, land/water, etc.

• D. N. Mamin-Sibiryak “Gray Neck”;
• N. Nosov “Cucumbers”;
• G. B. Oster “A Kitten Named Woof.”

You can also compile a card index on moral and patriotic education: homeland, society, family, friendship, holidays, citizen, etc.

• N. Nosov “Mishkina porridge”,
• D. Gabe “My Family”,
• Ya. Segel “How I was a mother.”

Safety may also be a criterion for combining works: fires, traffic rules, rules of behavior in nature, etc.

• A. Barto “Thunderstorm”;
• O. Smirnov “Steppe Fire”;
• G. Shalaeva “Do not eat unfamiliar berries in the forest.”

Also popular is the card index compiled by E.V. Shcherbakova according to the program “From birth to school”, ed. NOT. Veraxes. Criteria: educational areas.

From the field of moral education:

1. Russian folk tale “Kroshechka-Khavroshechka”;
2. Russian folk tale “The Braggart Hare”;
3. Russian folk tale "The Frog Princess";
4. B. Shergin “Rhymes”;
5. Russian folk tale “Sivka-burka”;
6. Russian folk tale “Finist - the clear falcon”;
7. V. Dragunsky “Childhood Friend”, “Top Down, Diagonally”;
8. S. Mikhalkov “What do you have?”;
9. Nenets fairy tale “Cuckoo”;
10. “Goldilocks” (translated from Czech by K. Paustovsky);
11. K. Chukovsky “Moidodyr”.

K. Chukovsky’s book “Moidodyr” must be studied at preschool educational institutions