Notes on speech development “Reading and memorizing poems about winter”
5
Lesson summary on speech development
Subject:
Reading and memorizing poems about winter.
Goal: To introduce children to poetry. Help children memorize and read poems expressively. Encourage children to memorize the poem.
1. Educational task: to promote the formation of the ability to conduct a dialogue with a teacher, to help learn how to answer questions about the content using lines from the text. To consolidate children's knowledge of the signs of winter while looking at the illustrations. Teach children to expressively read a poem by heart, understand and reproduce figurative language; develop expressive reading skills.
2. Developmental task: to develop internal motivation in children to listen to V. Orlov’s poem “Why does the bear sleep in winter? »
3. Educational: Arouse interest in poetry, awaken aesthetic feelings; promote a caring attitude towards toys.
4. Health: Creating conditions for physical activity of children. Evoke an emotional response to pictures of winter nature.
Methods and techniques.
1. Visual: (show, demonstration)
2. Verbal: artistic expression, conversation, story, questions, explanations.
3. Game: surprise moment.
Preliminary work.
Looking at illustrations about bears, reading fiction and educational literature, riddles about wild animals, word games.
Equipment: Envelope with a riddle, Teddy Bear toy. A riddle about winter, about a bear, a selection of illustrations on the theme “Winter”.
Progress of the lesson:
Children and teacher stand in a circle
.
Hello, my dears, both small and large! I see how you have grown - how good you are!
Educator. Guys, I see that you are in a great mood today. Let's give each other our happy smiles!
Now let's say hello to our guests.
And we will also give them our smiles!
Educator. Well done! Now we will have a wonderful mood all day.
Guys, what do I have in my hands?
Children. Envelope.
Educator. Guys, let's see what's inside. Riddle about winter:
Snow on the fields
Ice on the rivers
The blizzard is walking.
When does this happen?
Children's answers
Educator. That's right, guys. Look at what time of year is depicted.
Why do you think so?
What signs of winter do you know?
Do you love winter?
Winter is a wonderful time of year. Let's see how beautiful it is in winter!
(View reproductions of paintings by artists).
Educator. Guys, did you like winter nature? (Children's answers)
What colors did artists mainly use in their works?
Children. Blue, light blue, white.
Educator. Why?
Children. They depicted snow.
Educator. What kind of snow?
Children. White, cold, fluffy.
Project in the middle group of the preschool educational institution “Favorite Poems”
- May 30, 2019
Fast remote online competitions
Competition “Project activity of a teacher in a preschool educational institution”
Relevance
In the methodology of speech development, a special place is occupied by work aimed at instilling in children a love of poetry, familiarization with poetic works, and development of the ability to perceive and expressively reproduce poetry.
Memorizing poems is one of the means of mental, moral and aesthetic education of children. In preschool age, it is important to teach children to perceive and evaluate a poetic work, and to cultivate artistic taste. By perceiving poetic images, children receive aesthetic pleasure. Poems affect the child with the power and charm of rhythm and melody; Children are attracted to the world of sounds.
The wonderful poems of Agnia Barto, Korney Chukovsky, Samuil Marshak are of great benefit for preschoolers: memorizing poetic works broadens the child’s horizons, rhyme makes it possible to find inner harmony, memory develops, and the cultural level of the little person is formed. Each verbal work, assimilated by the child’s memory, enriches the vocabulary fund that forms his own speech. Expressive performance develops speech technique: diction, breathing.
The most favorable period for memorizing poems is the age of 4-5 years. It is during this age period that the baby’s memory begins to develop especially quickly. And, if until the age of four we do not set the child the task of memorizing a piece, but simply “read” a number of them - what he remembers, he will remember, then after four years it is necessary to purposefully teach the child to memorize the text by heart. And the more a child learns by heart, the more memory he will develop for further learning.
Project goal: To develop in children and parents the interest and ability to memorize and read poetry expressively.
Project objectives:
1. Teach children to read poetry expressively.
2. To form emotional and figurative perception in children through artistic expression.
3. Provide information to parents about the importance of memorizing and expressively reading poetry as a means of developing attention, memory, expressiveness of speech, developing the child’s self-awareness, and the all-round development of the child.
4. Inspire parents to exchange information and share experiences.
Project participants: Children of the middle group (4-5 years old). The project provides for the active participation of parents, children and educators.
Project typology:
Creative, group, practice-oriented, medium duration (2 months).
Predicted result:
- Development of children’s ability to perceive and expressively reproduce poetry, enrichment of vocabulary, development of speech technique, increase in children’s memory capacity.
- Increasing parental competence on the presented problem.
- Participation of families of pupils in the educational process.
- Developed methodological and didactic support for this section.
- The implementation of the project will help instill in preschoolers a love of poetry, their native language, the development of creative imagination, humor, which is invaluable in the further self-realization, adaptation, and study of our students at school.
Author: Elvira Galievna Berdinskaya, teacher at Municipal Budgetary Educational Institution “Kindergarten No. 29”, the city of Sterlitamak, Republic of Bashkortostan.
Project Favorite Poems
METHOD OF WORKING ON A POEM
Methodological recommendations for working with the text of a poem
During literary reading lessons.
In recent years, the content of reading textbooks for primary schools has changed dramatically. But, nevertheless, poetic texts are an integral part of each of them. Many teachers have, and still do, hear about the difficulties of working with poetic works that were not created specifically for children. The authors of the textbooks obviously motivate this by the fact that our students should know the works of world-famous classical poets, and this is correct. Oddly enough, my students and I enjoy working with poetry in class. I like it because the verse itself is small in volume compared to the prose text and does not cause a negative attitude towards it, which is very important, given the fact that today’s children have a reduced interest in reading.
Features of reading and analysis of lyrical works. A lyrical work, unlike an epic one, is built on the basis of the author’s expression of the inner world of a person (the lyrical hero), his thoughts, feelings, and experiences. Lyrics most often lack a description of events, actions of characters, and circumstances of the action. The lyrics do not so much depict as express the impression of reality. Consequently, the artistic content of a lyric poem is the spiritual life of the hero, artistically comprehended by the author and expressed by him through the word in poetic form. A person’s experiences can be caused by pictures of nature (landscape lyrics), social phenomena and political events (political and patriotic lyrics), reflections on the world and its structure (philosophical lyrics), etc. In elementary school, during literary reading lessons, students are introduced, first of all, to landscape poetry. Educational anthologies present poems about all seasons; their arrangement in books can be determined by thematic and chronological principles (poems about spring, winter, etc.) or the monographic principle (poems of the same author with different themes). Lyrical works are the most difficult material for children's reading. When listening or reading lyrics, a child often perceives individual words, but does not develop a holistic image, and therefore does not have an adequate emotional response. Difficulties in children's perception of lyrical works are due to their artistic features. Firstly, lyric poems are mainly works of classics of Russian poetry. They were not written for children and were addressed to the rich, already formed inner world of an adult. The experiences reflected in them are often absent from the life experiences of younger schoolchildren. These poems are included in school anthologies unadapted, because in this case adaptation is impossible. Secondly, the originality of the language of classical lyric poems: the abundance of metaphors and other tropes, the use of a special word order, complex syntactic structures that are difficult for children to understand, the presence of words unfamiliar to children, words with figurative meanings - makes the text of the poem difficult to understand. As a result, the child cannot imagine, imagine the picture that was depicted by the poet. At the same time, reading lyrical poems is of great importance: - the child’s inner world is enriched, because is given the opportunity to experience such mental states as quiet thoughtfulness, tenderness, an elevated state of mind, melancholy, quiet sadness; - the child develops aesthetically and develops a sense of beauty; - children’s speech is enriched with words-names of emotions, figurative expressions, emotionally expressive vocabulary, because when reading lyric poems, the student must not only trace the dynamics of emotions, but also name the “read” moods; — the ability to empathize with another person, in this case the lyrical hero, develops, because To fully perceive lyrical works, students need not only to determine the mood of the lyrical hero, but also to be imbued with him. Based on the main difficulties of perceiving lyrical works and their significance for the literary development of a child, the formation of his inner world, in elementary school the following tasks are set for working on landscape lyrics: 1. Formation of an idea of the features of a lyric poem as a genre of fiction, 79 development of basic reading skills ( first of all, the ability to determine the leading mood of the poem, the state of mind of the lyrical hero, the ability to see the dynamics of emotions, respond emotionally to the work, the ability to understand the figurative and expressive means of language and their function in the poem, the ability to recreate in the imagination the pictures depicted by the poet).
2. Improving the expressiveness of reading, the ability to express the mood of the lyrical hero when reading using intonation means.
3. Emotional and aesthetic development of students, development of their poetic ear. 4. Development of students’ speech, their ability to understand and use figurative and expressive means of language in their speech, enriching speech with vocabulary denoting human emotions. The structure of a lesson in reading a lyric poem reflects all stages of working with any literary work. Let us consider the features of each stage of the lesson, determined by the genre specificity of lyrical poems. At the stage of preparation for the perception of a lyric poem, it is necessary: firstly, to evoke in the minds of children pictures and images that correspond to those depicted in the poem, i.e. awaken their imagination; secondly, to evoke in children emotions that correspond to the tone of the work, thereby providing the best conditions for the emergence of an adequate and accurate emotional response to the poem upon its first perception. The implementation of the assigned tasks is facilitated by the use of such techniques as listening to musical works and analyzing paintings that are in tune with the tone of the work; conversation about children's life experiences; providing additional information about the author to help understand the feelings of the lyrical hero; turning to already studied works either by the same author or on the same topic; an explanation of the meaning of those words in the poem, misunderstanding of which may lead to misunderstanding of the emotional state of the lyrical hero. 80 The stage of preparation for the initial perception of the poem ends with the choice of attitude towards its perception. Most often in elementary school, two types of settings for the perception of lyrical works are used: While listening, imagine something as the poet saw it (for example, autumn, summer morning) or While listening, try to understand what feelings the hero experienced (the term lyrical hero in primary schools are usually not used). The choice of setting largely depends on the preparatory work that the teacher did before reading (listening) to the poem. The primary perception of the work is most often carried out on the basis of an expressive reading of the poem by the teacher (preferably by heart) in order to evoke in students an emotional state consonant with the tone of the lyrical poem. In addition to expressive reading by the teacher, this can be done by listening to a recording of a poem being performed by a professional reader, or by children reading the poem independently (in grades 3-4). Checking primary perception returns students to the perceptual mindset with the help of questions: What was presented? How did you feel? What mood is the poem permeated with? What did you like about the poem? What do you remember? The result of such a conversation may be the emergence of a problematic situation when different opinions of students collide, which motivates an appeal to the text of the poem for a deeper understanding. The setting of an educational task (to reread and understand a poem) can be specially planned by the teacher, for which such techniques as a problematic question, a comparison of different options for expressive reading of a poem, and the task of choosing an illustration suitable for the poem from several that are very similar in content are used. Solving the problem requires re-turning to the poem and analyzing it. Analysis of the poem begins with students rereading it independently. First, children are asked to highlight unclear words while reading, then the words noted by the children are discussed. The main ways to define concepts in 81 this case will be to reveal the meaning based on the context and replace the word with a synonym, clarifying their semantic differences. It is important that vocabulary work helps clarify in the children’s imagination the pictures depicted in the poem. Then the analysis of the poem is carried out in three directions: - identifying the pictures depicted in the poem, their reconstruction (i.e. rereading the poem in parts, stanzas and discussing the questions: What did you imagine? What picture can be drawn for this passage?); - determination in each passage of the emotional state of the lyrical hero (What mood is imbued with the description of nature?); - analysis of the language of the poem (What words and expressions helped to see, imagine, draw a picture..., What words sound joy (sadness, melancholy...), What does the author compare nature with? Why? etc.). As a result, the general mood of the poem is determined and its change in the poem is noted. Traditionally, the generalization of the results of the analysis of a lyric poem is its expressive reading with a certain attitude, for example: Read so that you can hear the joy that the hero experiences when spring comes. As homework, students are usually asked to memorize a poem, prepare an expressive reading of it for a recitation competition, and draw an illustration for the poem. Tasks for independent work 1. Get to know the techniques for formulating the topic of a literary reading lesson. What other problems can be solved using such techniques? Compose a fragment of a lesson to formulate the topic and purpose of the lesson, using one of the proposed or similar techniques. 1) Compiling the author’s surname from missing letters in words. The names of famous poets are written on the board.
Methodology for working on a poem.
Lyric poems occupy a large place in reading books for school. They do not have a developed plot, complete characters, or actions. Lyrical poems are characterized by increased emotionality and compressed expressive speech.
The difficulties that children experience when studying poems of this type are associated with the abundance of metaphors, epithets and other expressive means of language.
The methodology for working on lyric poems should be aimed at creating a figurative perception of the poem in children, at penetrating into the feelings of the poet.
This goal will be facilitated by:
1. Preparatory work (excursions, conversations, listening to music, viewing and analyzing the picture, teacher’s story about the author’s life).
2. Expressive reading of the poem by the teacher.
3. Clarification of the emotional level of primary perception.
4. Reading the text in parts, analysis, preparation for expressive reading.
If the poem is learned by heart, you can use mnemonic devices. For example: in a poem written on the board, prepared for memorization, individual words are gradually erased. Children restore them when reading again. By the end of such work, only the initial words of each line remain on the board, which serves as a guide for their reproduction. You can print a poem with the omission of some words on cards, but as captions under the pictures, which depict the situations that are described in each stanza. Schoolchildren turn to these cards after reading a poem from the textbook and analyzing it.
The method of working with an epic poem coincides with the method of working on a story. It is aimed at clarifying the plot, revealing the character of the characters, and the idea of the work. Students can divide the poem into parts, title each part, draw word pictures, retell the content, and match the lines of the poem with the pictures.
METHOD OF WORKING ON A POEM
In literary criticism, two systems of the artistic structure of speech are distinguished - prosaic and poetic.
VERSE is a special type of speech, a unique, expressive system, significantly different from both everyday speech and artistic prose. Poetic speech has several characteristics. Rhythm has a special role in organizing poetic speech. It is characterized by repeating elements, which determine the inherent harmony in movement of these works. The regularity and rhythm of the verse is created by a certain repetition of stressed and unstressed words in a line. Different systems of versification differ from each other in a certain poetic size. In elementary school, students are introduced to rhythm and rhyme.
Poetic speech is emotionally charged speech. The main feature of poetic speech: the constancy of a homogeneous, emotionally colored intonation system, in contrast to prose, where we have variable intonation, where each phrase has its own, mainly logically motivated intonation, which is not repeated in subsequent phrases.
Taking into account this feature of poetic speech, it is advisable to draw the attention of students to the fact that in poetry the poet often expresses his feelings, his experiences caused by pictures of nature. The same picture of nature can evoke different feelings in different poets and the verse receives different emotional overtones: joy, sadness, anxiety, etc.
ANALYSIS OF POEMS.
Poetic works are divided into epic, lyrical and dramatic. In elementary school, epic and lyrical works are studied.
Epic poems are characterized by the presence of a plot, i.e. systems of events and their development. At the center of epic works are images - characters, revealing which the author shows a certain side of life in a particular period. Examples of epic works “Grandfather Mazai and the Hares” by N.A. Nekrasov. “The Tankman’s Tale” by A.T. Tvardovsky.
Analysis of an epic poem is aimed at clarifying the plot, revealing the characteristics of the characters, the idea of the work, and its artistic originality. This work allows for division into relatively complete parts, drawing up a plan, and retelling. The choice of methodology depends on the specific content of the work. In the elementary grades, the task of studying figures of poetic speech of inversion is not set, but practically the teacher constantly draws the students’ attention to the author’s use of certain artistic techniques in order to express thoughts more clearly and figuratively. Ethical poems often use dialogue, which allows the author to vividly describe an event, as if to “include the reader himself in the circle of events being described.” Etc. "The Tankman's Tale." Dialogue contributes to a clear perception of the picture and understanding of the relationship between the characters. However, the teacher must remember that expressive reading of a poem with dialogue is difficult without prior preparation. Therefore, before reading parts of the poem out loud, it is advisable to offer silent reading with some kind of task.
In lyrical poems, the subject (experience) of the image becomes the experiences and feelings of a person. The uniqueness of a lyrical work is that the hero’s experiences, the inner world, are the central, leading thing that makes up the leitmotif of what is depicted. A person’s experiences can be determined by pictures of nature, social phenomena, philosophical reflections: about the essence of the world, life.
Taking into account the thematic material of life that caused certain experiences, in literary criticism lyrics are classified into landscape, patriotic, philosophical, lyrics of love and friendship, etc. Primary school lyrics mainly feature landscape lyrics. Conditions are necessary that significantly influence the usefulness of students’ perception of this type of work and the creative perception of their emotional content. Such conditions include:
1. Students have ideas about life that are adequate to the author’s.
2. Development in students of attention to the experiences of the heroes of works. Moods and feelings. Purposeful work on enriching children's vocabulary with words denoting feelings and shades of feelings, state and mood (joy, fear, sadness, sadness, pride; calm, excited, solemn).
3. Formation of creative, reconstructive imagination in students. In preparation for reading poems about nature, the teacher determines the place and time of the excursion, selects reproductions of paintings by artists, musical works that are in tune with the poems.
You need to be especially careful when selecting biographical material about the writer. The teacher can talk about the poet in such a way that his sadness or joy or anxiety is clear. Listening to relevant musical works is very effective: children create a mood that is adequate to the author’s, which contributes to the correct aesthetic perception of the poem.
Listening to P.I. Tchaikovsky’s plays from his album “The Seasons” brings a lot of joy to children. When deciding whether to use a picture in a lesson immediately before reading, much will depend on how well the picture and poem correspond to each other.
It is necessary to emphasize the importance of careful preparation of the teacher for expressive reading of the poem. The teacher should read the poem by heart and awaken in children living associations with the pictures that the poet describes. When reading landscape lyrics the subject of analysis
is a picturesque image. The uniqueness of the analysis of a poem about nature is that it is aimed at creating favorable conditions for students for a deeply aesthetic perception of the pictorial image drawn by the poet using the artistic means of language. A pictorial image is as complex as any image. Therefore, in the lesson, after the initial perception of the poem, students isolate the constituent parts of the image - its interconnected components. The brightness of the primary holistic perception is created by questions of the following nature:
What mood does this poem make you feel?
What feeling did the poet express when describing autumn? Prove it.
What kind of bird cherry do you imagine when listening to S. Yesenin’s poem? How do you imagine spring, the forest of I. Bunin’s poem?
At the second stage of working on the poem, the teacher invites the children to read the text again and name how many separate pictures they see and what they are about. Students read lines that paint one picture and talk about what they pictured, i.e. they recreate their verbal picture, created by their imagination based on the words of the author. The completeness of the landscape image is created by the fact that, along with visual components, this image includes auditory and olfactory ones. The poet not only sees nature, but also hears it, inhales the smells of the forest, garden, blooming linden, bird cherry. All this is captured in a single poetic image. Therefore, it is so important not to turn the analysis into a logical one; it should always have an emotional side. Purposeful work on the expressive means of language is one of the most important conditions for revealing the emotionally figurative content of a lyric poem. Practically, primary schoolchildren become familiar with the authors’ use of the basic poetic means of poetic speech: epithet, comparisons, metaphors, personifications. In the process of analyzing a poem, the teacher creates the opportunity for students to recognize the use of a certain word in the text that most accurately conveys a feeling, attitude, or most accurately describes the subject. With a properly organized lexical and stylistic analysis of the text, students understand well why the author endows natural phenomena with the traits of living beings. For example: why in F.I. Tyutchev’s poem “Spring” the poet calls winter “an evil witch”, and represents spring in the image of a “beautiful child”, how, with what words does the author depict the struggle between winter and spring, confidence in the victory of spring.
Fine and expressive means of speech
Metaphor is the transfer of properties or characteristics from one object to another based on the principle of similarity.
Metaphor is the use of a word in a figurative sense (the east is burning, the sun has risen, it has started to rain).
Personification - reification (snow lies),
identification of objects and phenomena of nature, flora and fauna with the life and activities of people.
Personification - to express, to represent in the image of a living being (wind, wind, you are powerful...).
An epithet is a figurative characteristic of an object or phenomenon expressed by an adjective.
An epithet is a figurative artistic definition. Gives objects a special liveliness, imagery, and emotionality (tramp - wind, Frost - governor).
Simile - a word or expression containing a simile
one item to another. Comparison of objects to identify
Working on a poem in elementary school Features of poetic texts
The purpose of the lessons: the formation of students’ initial ideas about rhyme and rhythm as the foundations of a poetic text.
We cannot introduce the concept of “poetry” in first grade, especially in comparison with prose: our readers are still too young. But their reading and life experience still allows us to give children an initial understanding of poetry as an artistic text, written in verse, with rhyme and rhythm.
To implement the principle of problem-based learning and involve students in search activities, it is necessary before these lessons to give children the task of learning their choice of an excerpt from prose or a poem. Children's choices can be predicted with confidence. Explaining why they chose poetry to memorize, they will come up with the simplest ideas about the features of poetic speech, its rhythm and the similarity of words that appear at the end of the line.
D. Ciardi’s poem “Similar Tails” in an easy, playful way will explain to student readers what rhyme is and show rhyming words. Then the children themselves will find rhymes in A. N. Pleshcheev’s poem “Spring”.
You can form an idea of rhythm through a counting rhyme familiar to children and the intuitive word “foldable.” Before this lesson, you need to give the children homework: remember your nursery rhymes. And the lesson will immediately become very interesting to everyone, fun and unpredictable.
We placed in the textbook, in fact, a recorded conversation with students about rhyme and rhythmic organization of verse, realizing the difficulty of explaining these concepts to children. The teacher must help students understand what is called rhyme and rhythm, he helps them clap the rhythm and organizes games. These lessons have a lot of playful moments, they are good for improvisation, and the literary material itself is familiar, loved and surprisingly harmonizes the educational educational space.
This lesson will end with students’ independent work identifying rhymes in A. Milne’s poem “Tails.”
Expanding students' understanding of rhyme
Lesson objectives: 1) familiarization with the basic rules of rhyming; 2)work on the expressiveness of reading dialogue.
An excerpt from N. N. Nosov’s book “The Adventures of Dunno and His Friends,” in addition to being interesting for children in content and providing an excellent opportunity to improve reading techniques on a voluminous epic text with vivid dialogues, allows once again using new material to expand students’ understanding of rhyme.
Understanding the unsuccessful attempts of Dunno to compose a rhyme, we go out with children to the rules of rhyming in a playful, cheerful reading. Dunno's first failure occurred because his rhyme did not match the stressed vowel and the number of syllables in the words. And the second is because it’s really difficult to find a rhyming word for the word “tow.” But you don’t have to tell your children about these rules, because in the first grade we give the most basic ideas about the features of a literary text.
When organizing reading, the teacher can use the capabilities of this text to develop children’s ability to distinguish the boundaries of statements. This text is very good for reading by role, children will be happy to do this, which means that working on determining which of the characters the words belong to will be interesting and fruitful for them. The problem of expressive reading will be solved in these lessons in the same organic and interesting way.
Working out the principles and methods of rhyming in a poetic text
The purpose of the lesson: to test the ability to determine consonance and select a rhyme.
The texts we work with in this lesson are arranged in order of increasing difficulty of learning tasks.
Reading the poem by N.V. Gernet and D.I. Kharms “A very, very tasty pie,” children come up with simple, so-called “exact” rhymes - this is a classic Russian rhyme, where the stressed vowels coincide and the subsequent sounds are identical.
Working on the last poem in this section by Yu. Tuvim “About Pan Trulyalinsky” can turn into an exciting game, which is very interesting with the possibility of improvisation, creativity, communication (you can arrange all kinds of competitions between groups of children, read the text by role, dramatize it). The teacher’s skill will be manifested here in how he will be able to, unnoticed by children, identify those whose skills in determining rhyme are not yet sufficiently developed in order to develop these skills in them in further work on poetic texts.
In addition, in this lesson we are essentially working on models of word formation in the Russian language, which will be studied later, that is, we are implementing one of the main principles of developmental education - working in the child’s zone of proximal development.
“...And if I close my eyes
,
I can see something that doesn’t happen...”
This may be the most difficult topic for student readers to comprehend. But it is precisely at this age, when a child’s imagination is simply limitless, when he firmly believes in games and fairy tales, that one can form a reader’s idea of the author’s ability to create fantastic pictures that do not actually exist, and of the simplest ways to create such pictures.
This must be done in order to prevent a primitive correlation of the artistic image with reality, when the authenticity of the picture is verified by the formula “as in life.” We would like to warn teachers about this error, since we saw lessons in which the image of a crow
from A. A. Blok’s poem “The Crow” was correlated by the teacher with a photograph of a crow and the children, instead of analyzing the poem and the artistic image, compared what the author says about the crow and the “real” bird.
Formation techniques
full reading
1. Fluency.
2. Right.
3. Expressiveness.
4. Consciousness.
Analysis of the artistic features of a work in a literary reading lesson is a prerequisite for readers to deeply penetrate the content of the work. Works of various genres have their own means of influencing the reader. This explains the difference in methodological techniques used by the teacher.
Children's reading covers the entire variety of genres of popular science and fiction literature, as well as folk art. Recently, large forms - stories and novels - have been actively invading children's reading. In this regard, the teacher needs to be fluent in the methodology of working on works of various genres included in the literary reading program for junior schoolchildren. Let us dwell on the methodological recommendations and techniques that will help the teacher when working on poems. A seminar for teachers of Udmurt language and literature was devoted to this topic.
In literary criticism, two systems of artistic structure of speech are distinguished: prosaic and poetic. Let us recall the signs of poetic speech:
-rhythm,
-rhyme,
- increased emotionality.
In elementary school, children are introduced mainly to landscape and social poetry. For students to fully understand, there are certain conditions that the teacher must take into account:
- the presence of students’ ideas of life that are adequate to the author’s or close to them;
-developing students’ attention to the characters’ experiences, mood and feelings;
- formation of students’ creative, reconstructive imagination.
In order for the work to be successful, the teacher must follow the stages of working on the poem.
1. Preparation for the perception of the poem (conducting excursions, selecting reproductions, musical works).
2. Primary perception. The goal is to convey the content of the poem and evoke an emotional response to what is read. The initial perception must leave an emotional mark on the student’s soul, so a reading sample is needed.
3. Checking the impressions that arose in the process of perceiving the text (orally answering questions, verbal drawing).
4. Secondary perception of the text. Children reading poems to themselves independently. Rereading is a technique that combines work on in-depth understanding of the text with the development of reading skills. Children mark unclear words and expressions.
5. Vocabulary work. The goal is to enrich students' vocabulary and mastery of the content of what they read.
6. Analysis of the work. The essence of this stage is to draw pictures that the children presented as they read. This allows you to deepen and expand the figurative ideas that arise in the imagination. Next, students present their work, show and tell.
7. Conversation with the author. Children make assumptions about the author of the work: age, appearance, character. The teacher suggests non-standard situations: on the train with the author, what will you talk about, while fishing, etc.
8. Interpretation. Tell it in prose, on behalf of the author, on behalf of the hero of the poem.
9. Comparison with the original. The author's work (original) will remain the standard, so we determine by what techniques and means the author achieved the perfection of the work.
10. Statements by literary scholars about this work.
11. Homework: learn by heart.
Thus, during the lesson, work is carried out on speech activity, which is built from four components:
- ability to listen, hear;
- ability to speak;
- ability to read;
- ability to write.
Summary of a lesson on speech development in the senior group “Reading poems by J. Rodari”
(The teacher draws the children’s attention to a box (standing on the table), in which there are various pieces of fabric and jars with odors: medicines, oils, paint, vanillin, onions, fish, etc.)
- Guys, look, there is something in this box. It seems these jars smell of something... Let us remember how to sniff unfamiliar substances or objects that have a smell?
(Unfamiliar substances or objects should be sniffed carefully, directing the stream of smell with a slight wave of the palm to the nose)
- Well done, let's carefully smell these objects.
(Children take turns sniffing)
— Guys, what do you think these smells are?
(Children's answers)
Vocabulary work
— I’ll tell you a secret, this box contains the smells of various crafts. How many of you know what a craft is?
(Craft is the work of a person to produce various items needed in the household)
—
That’s right, craft is the work of a person to produce various items needed in the household! Who is a craftsman?
(A craftsman is a person who creates with his own hands items necessary for the household)
—
Right. A craftsman is a person who creates with his own hands the objects necessary for the household. Guys, do you know that each of us has one artisan friend? His name is Yazychok and he works every day. Please come to me and listen to the story.
(Children are located in front of the model, as it is convenient for them)
Articulation gymnastics
(The teacher stands near the model)
“Once upon a time there was a tongue, he was all alone. He had nowhere to live, and therefore often caught colds and was sick. But one fine day, Tongue found a home. Where do you think Tongue settled?
(The tongue has settled in our mouth)
- Right! The tongue was happy and decided to put things in order.
“After all, my house is my fortress,” thought Tongue, “and he placed two doors: the first door is the lips,
guys, touch them with your tongue, like this...
(The teacher demonstrates the movements on the model, the children repeat)
- And the second door is teeth,
touch them with your tongue.
(The teacher demonstrates the movements on the model, the children repeat)
“The new house had no windows, but there were walls, although they were very unusual; they could inflate and deflate like balloons. It was the cheeks
, touch them with your tongue, like this..
(The teacher demonstrates the movements on the model, the children repeat)
-The ceiling was solid and was called the palate.
It was uneven and resembled a dome.
(The teacher demonstrates the movements on the model, the children repeat)
-Yazichka really liked the house. It was cozy and warm, but it was often damp. I wonder why?
(Children's answers)
—
Yazychka often had to do repairs in the house.
He opened the doors, after which he wiped them from the outside and inside (exercise “Let’s brush your teeth and lips” by moving your tongue over your lips from left to right, then over your teeth from right to left).
