What feelings arose when reading the story of the figure. A

Topic Keywords
Text activity, full perception of a work of art, analysis of a work of art, problematic issue, naive realism, levels of perception, literary reading, listening, creativity.

Question 1
The reading activity of younger schoolchildren can be interpreted as a text activity, since its object is text (artistic, educational, scientific and educational). In this sense, reading activity is primarily structured as a text-perceiving activity: the text is perceived aurally (in this case we speak of literary listening) or visually. Text-perceiving reading activity in the lesson is structured as an analysis of a work of art (analysis-rereading), as a result of which a full perception of the work of art or the so-called perception at the level of ideas is achieved. According to M.P. Voyushina, full perception is understood as the reader’s ability to empathize with the characters and the author of the work, to see the dynamics of emotions, to reproduce in the imagination pictures of life created by the writer, to reflect on the motives of the characters’ actions, to evaluate literary heroes, determine the author’s position, master the idea of ​​the work, that is, find a response in your soul to the problems posed by the author.
Let's consider the main characteristics of the concept of “analysis of a work of art”:
the purpose of the analysis is to comprehend the idea, to introduce the writer to the spiritual experience;
the result is a full perception of a work of art, advancement in literary development(formation of analytical skills);
the subject of study is the author’s depiction of reality;
method of comprehension - study artistic word as a means of creating an artistic image;
method of comprehension - methods of analysis, i.e. those operations that contribute to the comprehension of the idea;
content - a system of analytical (reading), speech, literary and creative skills and literary knowledge.
According to these characteristics, the concept of “analysis of a work of art” differs from the concept of “working with text,” which is used in the methodology in several meanings: a) working with the text of a work of art only at the level of factual content, promoting not only the understanding of the text, but also the formation of reading skills ; b) working with informational text (educational, educational), which has fundamentally different characteristics (see topic...). The difference between the concepts of “analysis” and “working with text” is due to the fact that in lessons children encounter not only artistic (literary) texts, but also informational ones (autobiographical information, interpretation of literary concepts, explanations of the features of different literary genres, history of writing the work, etc.). The term “analysis” is used in relation to the first group of texts, and “working with text” is used for the second group. Note that dividing texts into these two groups is used in all international tests of reading competence and literacy, for example, PIRLS.
Analysis of a work of art in literary reading lessons is built in compliance with the following methodological principles:
- The principle of motivated analysis.
The analysis is carried out after a holistic, direct, emotional perception of the text by children and, like any activity, must be motivated, i.e., meet the child’s need to understand what he has read. According to K.I. Chukovsky, analysis is “the discovery of fascinating and amazing values ​​where children had not noticed anything before.” To do this you can use the following methodological techniques:
1. Statement of a problematic question.
According to O.V. Kubasova, characteristic features Such questions (compared to reproductive ones) are: a) the presence of contradictions and the possibility of alternative answers; b) capacity, i.e. the ability to cover not some single fact, but the author’s intention; c) fascination; d) a sufficient measure of difficulty.
Examples of problematic questions
L.N. Tolstoy "Bone"
Why did L.N. Tolstoy write this story? To remind us once again that we cannot take without permission? But you already know this?...
K.G. Paustovsky “Cat Thief”
Why does the author describe autumn nature in this funny story? Maybe this is unnecessary? After all, everything is clear...
V.V. Bianchi "The Musician"
How does the author help us, the readers, to guess that the old hunter will not kill the bear?
It is easy to notice that in all the above formulations the word “author” is present, which contributes to the formation in children of the most important literary (reading, analytical) skill - to see the position of the author in different elements of the work.
2. Explanation of the quote
This technique assumes that children are offered a statement by some person known to them, including another writer, about a given literary work. For example: S. Ya. Marshak said about A. P. Gaidar’s story “Chuk and Gek” that it is “bright, like a pearl.” Why do you think?
3. Appeal to the commentary of a literary critic. Unlike the previous example, children become familiar with the statement of a person whose profession is the study of literature.
Example: After reading the poem by A.N. Maykova “Autumn leaves are circling in the wind”... children read the commentary to it by N.P. Sukhova “This poem is built on a comparison of sound images: in the first part there is alarming noise and hubbub, in the second there is silence and peace.” Further work built on comparative analysis two contrasting parts of the text will confirm this statement
4. Comparison various options reading one text (for example, a poem); different melodies, illustrations by different artists, “since material for comparison always awakens the child’s thoughts, causes the need to make a choice and justify his position.” .
5. The technique of “deformation of the text” (it was proposed in the 30s by A. M. Peshkovsky): schoolchildren compare two versions of a literary text - the author’s and specially changed (“spoiled”) by the teacher.
Example: From L. Tolstoy’s story “The Bone,” the teacher “removes” the part that talks about painful experiences little hero, struggling with the temptation to try plums: “...and I kept smelling them. And he really liked them. I really wanted to eat it. He kept walking past the plums. When there was no one in the upper room, he could not resist, grabbed one plum and ate it.” Students begin to discuss what will change in the text (in relation to the author to the hero) with such deformation
- The principle of relying on the child’s personal experience.
When analyzing a work of art, it is necessary to rely on the child’s personal experience, update and enrich it, since the comprehension of an artistic image occurs in the process of bringing the writer’s experience closer to the reader’s experience.
According to M.M. Bakhtin, a dialogue is necessary between the reader and the author, which takes place through a literary text that arises in the process of “co-creation of those who understand.” The interlocutor reader can accept the author’s position and assessment of life if they are close to him, or he can reject it as unacceptable for his personal experience, i.e. the reader includes everything that the author created into his own life context. L. Vygotsky emphasized that in the process of reading there is an interaction between the content of the work and the reader’s personal experience, that is, his experiences, ideas, concepts, and actions. It is due to this that literature becomes an excellent means of self-knowledge.
Example: while reading Seton-Thompson's story "Chink", children discovered that such different, even contradictory qualities: good-natured, stupid, restless, stubborn, executive, loyal, cowardly, formidable, courageous, heroic, etc. Why did this happen? The children came to the conclusion that different situations different qualities of character are manifested. This idea was confirmed by numerous examples from children’s own experiences:
Ilya B.: “I always got an A in math for the quarter, and I thought to myself that I was good at math. But I didn’t win the Olympics. So, I guess I don’t understand everything as well as I thought.” Volodya S.: “It seems to me that I am brave. One day, when we were walking, I decided that I could jump over the hole, but for some reason I got scared at the last moment...” Interestingly, at the end of the lesson the children said: “Thank you Chink for helping us understand ourselves!”
Without updating the reader’s personal experience, it is impossible to master the moral and ethical values ​​of interaction with the surrounding world, gaining the skill of analyzing the positive and negative actions of characters, cultivating an adequate emotional state as a prerequisite for one’s own behavior.
- The principle of a special duality of the teacher’s position when conducting analysis.
Let us dwell on the question of what position the teacher takes when analyzing a work of art. Based on the above, it is easy to see that the position of “teacher-leader, children-subordinates” is unacceptable, since analysis is a joint search for an idea, an author’s “riddle”, “secret”. In this case, the teacher cannot always “calculate” all the possible paths that will lead to the discovery of the main idea of ​​the work. In this case, the teacher’s actions may include the following:
– pick up an interesting child’s idea and expand on it;
– bring conflicting opinions of children together, deepen (dramatize) this contradiction, i.e. organize a discussion (classwide or group);
– direct children’s attention to the appropriate places in the text, choose the optimal methods for analyzing and rereading the text;
– together with the children, think aloud about what they read, sincerely “get used to” the text together with the children;
– do not impose “adult” assessments and judgments on children about what they read;
– do not kill the joy of reading with your questions and assignments, do not “create psychological barrier“to understand literary works, to exclude the formation of a “reader’s inferiority” complex in schoolchildren (V. A. Levin); maintain a sense of proportion;
– do not be alarmed if the lesson does not go as planned, since analysis involves joint creativity children and teachers.
This position of the teacher can be called the dual position of the organizer and participant. joint activities with children (G.N. Prozumentova). As a participant, the teacher reflects with the children... discovers... learns... picks up; as an organizer, the teacher guides..., pushes..., helps.... comments... In our opinion, it is the pedagogical position of the organizer-participant of the joint educational activities promotes the formation of universal educational actions in children, in particular communicative ones related to discussion different points vision of what is read, hearing and understanding of another reader.
- The principle of relying on age characteristics younger schoolchildren (see question 2).
- The principle of focusing analysis on achieving all types of educational results. Subject results manifest themselves in the system of reading and literary-creative skills, in the formation of reading skills; meta-subject (semantic reading and other educational activities (for example, communicative), personal - in the development of reading motives, reading horizons, enriching the moral and aesthetic sphere of the child.
This list can be supplemented with such principles as the principle attentive attitude to the text of the work, the principle of unity of form and content, the principles of selectivity, integrity, accounting genre features works, etc.
Thus, the analysis of a work of art, taking into account the indicated principles, allows us to implement the main functions of the initial literary education, related to the organization of reading (text-perceiving) activity and the formation of a child as a qualified reader.

Question 2
Before you consider psychological characteristics perception of fiction by junior schoolchildren, let us briefly dwell on the characteristics of a preschooler. The older preschooler, unlike the toddler, moves on to the stage of artistic attitude to art, including literature: he begins to pay attention to the content of a work of art (characters, their actions), there is a steady interest in the book, and a desire to learn to read. A selective attitude towards certain texts (fairy tales, adventures, natural history) becomes characteristic. Children are proactive in their desire to discuss what they read (heard) with others, to express it in creative activities (playing, dramatizing, drawing, modeling).
When analyzing, it is necessary to rely on the age characteristics of younger schoolchildren in the perception of fiction. It is known that children coming to school are characterized by naive realism - a complete identification of literature and life, non-distinction real life and the conventional world of art. N.D. Moldavskaya characterizes naive realism as a person’s “strong attachment” to reality, a lack of understanding of the conventions of art.” M.G. Kachurin believes that the reader’s naive realism exists in two forms: as a natural and fruitful state of a child (from approximately 6-7 to 11-12 years old) and as a flawed, inert state - at a later age, as a delayed reader’s childhood..." [: 14].
If we depict the model of a work of art in the form of a triangle, where the left vertex is the question “about what?” (the theme of the work, its content), the right vertex with the question “how?” (its form), the third peak - with the question “what?” (its meaning), then the naive reader perceives in a work of art only its left vertex, only its direct content [Troitskaya]. The naive-realistic attitude towards literature is imperfect, but it is precisely thanks to it that children’s reaction to what they read is so immediate and emotional that it becomes Starting point when analyzing and rereading the text. Therefore, the destruction of naive realism can lead to the destruction of the emotionality of perception.
A naive attitude towards literature is manifested in the fact that children are unaware of the existence of an author in the text, and even more so, of any author’s assessments. The child speaks with interest about his own feelings about what he read, but not about the author’s attitude towards what is depicted. Children often perceive a work of art as an illustration of what has long been known (you have to be kind, it’s a shame to be greedy, you have to listen to adults, etc.). Instead of looking for the author’s thought in the text, the child “attaches” moral standards already known to him to the text.
The 7-year crisis is characterized by the emergence inner life, life of experiences, a “logic of feelings” appears, connections are established between experiences, and a struggle of experiences becomes possible. It is still difficult for children to trace the dynamics of emotions in a text, although they are already able to record emotional condition, make it a subject of reflection. Due to the increased emotionality of perception, a child can overcome the disadvantages associated with a weak ability to generalize (L.I. Belenkaya).
The emotions of a young reader (according to L.S. Vygotsky) can be characterized as “emotions of material” and “emotions of form”: some scene can cause tears and excitement in a child, but this reaction will not affect the aesthetic impression. During the period of “moral egocentrism,” the reader’s emotions are so active that they often lead to the replacement of the author’s feelings with the reader’s.
A strong emotional reaction is often generated by the imagination. At the same time, the child shows the ability to transform into an image (hero) and see the world through his eyes. Without emotional arousal and empathy, the perception of specific literary images does not occur. In children, an emotional-evaluative attitude towards the text prevails, which can carry: a) a general positive or negative assessment (like - dislike, interesting - uninteresting, bad - good); b) modality-specific emotional reactions. Children often do not differentiate between an emotional attitude towards a character and an attitude towards what they read: “I didn’t really like the story,” Honestly", because little boy abandoned by the big guys. If I were them, I wouldn’t abandon the baby.”
Emotional reactions reveal an everyday attitude towards a literary text: a general dislike for sad texts with a bad ending and an interest in books that amuse and entertain. Let’s confirm this with a fragment of a student’s response to S. Thompson’s story “Chink”: “I like Chink because, although he was afraid, he courageously defended his master’s property. Moreover, tired and exhausted, he defended all the attacks of the coyote. I don't like the owner. He drank away from his exhausted pet. And the problem with the coyote, it seems to me, could have been solved in another way. I don’t like that the coyote dies, although he was impudent and made Chinku’s life miserable. I feel sorry for him. I don't like stories where anyone dies. Even the worst one."
The child’s perception is characterized by fragmentation and photographicity: when observing, he highlights the bright features of the object, and not the significant ones. Due to the concretization of thinking, it is easier for a child to trace temporary connections and sequence of events than to establish cause-and-effect relationships and identify key episodes; It is easier for a child to retell the entire text than to determine the significance of one episode to reveal the character’s character. The mechanism of centering, which means that a child can see the world only from his own point of view, explains his inattention to the author of a work of art, difficulties in determining author's attitude to events and heroes. However, gradually, thanks to decentration, children become different, in particular, ready to have different points of view and opinions about what they read: the thought of another reader can be an example of his thought. This is why communication is so important in a literary reading lesson.
Children’s understanding of the main idea, according to N.P. Lokalova, goes through several stages in its development.
1. No answer.
2. “Echolalia” (repetition) - reproduces a sentence (line) from the text.
3. “Title” - reproduces the title or interprets it somewhat.
4. “Syncrete” - a retelling with the introduction of one’s own content or the expression of a personal impression.
5. “Fabula” - sets out the plot.
6. The beginning of differentiation (isolation) of meaning - brief retelling along with a concluding generalized phrase.
7. Complete differentiation of meaning.
The attitude towards literature, as a generalized image of reality, is formed in children gradually and can be expressed in different levels children's perception of text. So, Voyushina M.P. identified 4 levels of perception of a work of art by junior schoolchildren: the level of idea, the level of the hero, the ascertaining level and the fragmentary level. The fragmentary level is characterized by poor development of imagination, inability to generalize what has been read (attention is focused on individual events), identification of heroes with living people, difficulties in determining the motives and characteristics of heroes (typical for children 3-5 years old). At the ascertaining level (6-7 years old), children are good at reconstructing the sequence of events, but do not understand the connections between them, generalizing what they read is replaced by retelling, recreating images is replaced by listing details, they are guided not by the author’s portrayal of the hero, but by their own everyday ideas about the behavior of people and their personal qualities, give monosyllabic, weakly reasoned characterizations of the characters (good - bad, brave - cowardly, kind - evil). The hero level (8-9 years old) is characterized by the fact that children generalize what they read within a specific image (character image), correctly determine the motives and consequences of the heroes’ actions, give them a more detailed description and assessment (intellectual or emotional) based on their actions; Such children have a well-developed imagination (they recreate an image based on artistic details), when formulating the main idea, briefly retell the text with a final summary phrase. The level of the idea is manifested in the reader’s reactions not only to the event side, but also to art form, the ability to see the author’s position in different components of the text (including how the author portrays the hero and relates to him); Such children love to reflect on what they read and reread the text.
Thus, the naive realism of a primary school student has both positive and negative manifestations. With the correct organization of the process of literary education, it is gradually replaced by the child’s attitude towards literature as a generalized image of reality.
Question 3
The classification of methods for studying a work of art in elementary school can be built on various grounds.
1. Taking into account the main directions of organizing reading activity as a text-receiving and text-forming activity, we can distinguish methods of literary listening, literary reading and literary creativity.
1.1. The method of literary listening is more in demand in grades 1-2, when the child’s reading technique is still weak. In some educational complexes, for example, “Primary School of the 21st Century,” there are lessons in literary listening (L.A. Efrosinina). The objectives of such lessons are to develop children's perception of a work of art, to enrich the experience of the reader-listener, to deepen interest in the book, and to develop emotional responsiveness. Let us emphasize that the new Federal State Educational Standard of the NEO talks about the formation of such skills as adequate perception spoken speech, answers to factual questions (questions aimed at analyzing the actual content of the text), determine the sequence of events, ask questions based on what was heard.
The literary listening method includes the following techniques:
- predicting the content, nature and genre of the text;
- listening comprehension of an adult’s reading, which can be continuous or intermittent (with stops);
-checking perception, clarifying what is unclear;
- rereading by the teacher of favorite passages (at the children’s request);
-conversation using factual questions;
-modeling (book covers, chain of events);
-creative tasks(graphic illustration, dramatization, inventing a continuation, etc.).
Thus, literary listening is a reading activity, during which the child holistically perceives the text as performed by the teacher, realizes its actual content and forms his own attitude towards what he read.
1.2.Literary reading is an analysis-rereading of a work of art using semantic reading and different techniques analysis depending on the type of analysis chosen by the teacher. In this sense, we can talk about literary reading within the framework of stylistic analysis, analysis of action development, analysis artistic images(for example, an image-character), problem analysis(for more details, see the topic...) Literary reading organizes the so-called stage of thoughtful perception in the lesson and realizes the child’s position as a subject of reading activity through different types reading (analytical, commentary, illustrative-sensual, independent, collective, etc.)
1.3.Literary creativity is a text-forming activity based on what has been read, the result of which is a new product that is personally significant for the child (review, drawing, craft, sketch, etc.). The method of literary creativity must take into account the characteristics of the younger school age that complicate its implementation: limited life and reading experience, difficulties in expressing one’s own thoughts and feelings in writing (structure of the text, selection of adequate linguistic means, literacy), high activity combined with the simultaneity of the creative process and the inability to finish what was started, the absence of the need to improve one’s own creative product. To the techniques this method include creative retellings, stories by analogy, writing reviews, creative imitation, dramatization, illustration, film adaptation.
2. Taking into account the general logic of “immersion” in a work of art and its mastery by the reader, the following methods can be distinguished (the classification of V.G. Marantzman is taken as a basis).
2.1. Reading method: teacher reading, student reading (aloud, chain, silently), combined reading, expressive reading.
2.2. Method of analysis (analysis-rereading) using two groups of techniques: a) literary criticism (see topic...) and b) creative (or constructive-creative).
2.3. A method of translating a work of art into other forms of art: graphic illustration, drawing up a film script (translating visual images into a holistic dynamic image), dramatization (translating the text of an epic work into dramatic form, i.e. transferring to the stage a work of art that was not written specifically for the stage) .
2.4. A method of commenting on a work of art with extra-textual materials: the author’s story, book exhibitions (monographic or thematic), correspondence excursions (a combination of a teacher’s story with a demonstration of visual material), familiarity with the statements of literary scholars and critics about a given work of art.
2.5. Method of literary creativity based on a work of art or one’s own life impressions (see paragraph 1.3 above)
3. Methods and techniques for studying a work of art, taking into account the characteristics of a specific educational technology (for example, RKMChP).
Currently in practice primary school development technology is widely used critical thinking through reading and writing (RKMChP). Its attractiveness for teachers is explained by the following. Firstly, technology offers the teacher many options for working with text (informational and literary), starting with expanded forms (“Zigzag”, “Reading-summing in pairs”, “Insert”), ending with individual techniques (syncwine, cluster, etc. ). Secondly, these forms and individual techniques, from a technological point of view, are very “transparent”, that is, they imply a very clear (specific) scheme of use and are therefore convenient for the teacher who knows where, when and how to use them. Thirdly, many forms of educational work with text in this technology are multifunctional. For example, “Zigzag” (“Saw”) allows you to develop not only reading and text skills when working with informational text (perceive new text, “package” it into a semantic scheme, formulate questions for it, retell it to a partner who is not familiar with this text), but also communicative (the ability to interact in different groups, i.e. with different partners, discuss new information, convey to another person in an accessible form, listen and perceive someone else’s speech). It can be concluded that the RKMChP technology makes it possible to develop not only subject (reading, text) skills, but also meta-subject skills (communication, information, learning independence).
The most common technique from the RKMP technology, of course, is syncwine (“five-line”, “penta-line”). Let us recall its rules: 1st line - one noun that sets the theme of the entire text; 2nd line - 2 names of adjectives (attributes of this subject); 3rd line - 3 verbs; 4th - a sentence of 4 words that expand the topic and do not repeat words from the previous lines; 5th line - noun (synonym, association with the word in the 1st line). Let's consider in what educational situations in a literary reading lesson it is possible to use syncwine (see lesson development in the appendix).
1.Sinkwine as a means of updating previous knowledge.
Instead of starting the lesson with traditional reproductive questions “What is...?”, “What is the name of...?”, “Let’s remember...”, “What are...”, etc., the teacher suggests for children to make a syncwine so that keyword, which updates previously studied material. For example, when starting to study a fable in grade 3, the teacher suggests making a syncwine with the word “fable”.
Fable
Funny, vital
Teaches, attracts, tells
Makes fun of habits different people
Art
In this situation, you can do things differently and use a syncwine riddle. The teacher offers his syncwine without the first line, and the children guess, thereby determining (predicting) the topic of the lesson:
…
Short, educational
Tells, ridicules, condemns
Animals usually act in it
Morality
A cinquain riddle compiled by a teacher can also play the role of a forecasting technique. For example, during a lesson in reading the fairy tale “Chamomile” by H.H. Andersen, the teacher asks you to guess which flower will be discussed in the text of the fairy tale:
…
Modest, gentle
Makes you happy, heals, guesses
I love this flower
Sun

Having discussed different options (snowdrop, dandelion, sunflower, mimosa), the children come to the conclusion that this flower is a daisy. Children can ask the teacher questions: Why did you write “guessing”? Why do you love this flower?
2.Sinkwine as a means of checking the primary perception of the text of a work of art and sharing impressions.
For example, after reading B. Zakhoder’s fairy tale “ Gray star"Children are invited to compose a syncwine about the main character of the fairy tale:
Gray star
Caring, vulnerable
Loves, helps, protects
Don't judge by beauty
Soul

Gray star
Polite, kind
Protects, drives away, loves
This toad is very brave
Bravery
A discussion of the syncwines compiled by children, in which they express their positive attitude towards the main character, can become a starting point in a joint analysis of the text, the center of which will be the moral essence of the fairy tale and the children’s mastery of spiritual and moral values.
3.Sinkwine as a means of summarizing what you read.
In a literary reading lesson, when organizing secondary synthesis (generalization of what has been read), syncwine is also appropriate, which gives children the opportunity to express their own understanding (interpretation) of a work of art. For example, when generalizing from the story of V.A. Oseyeva “Magic word” children were asked to compose syncwines with the expression “magic words”:
Magic words
Interesting, different
They give, they help out, they save
Everyone needs these words
Good.

Magic words
Simple, joyful
Rescue, rescue, help
Everything is subject to this goodness
Concessions
The syncwines composed by the children indicate the predominance of a positive emotional and moral connotation of the chosen vocabulary: the words good, kindness, kind, help, rescue, save, approve are in the lead. Children understand the “power” of such words: “Everything is subject to this good,” “Everyone needs these words.” Activity, effectiveness magic word(creates, gives, does, changes, teaches), which changed the hero of the story in better side, also attracts children. All of the above indicates that moral meaning story (“The real magic of the magic word is that it helped the hero change. If you are kind and polite, people will repay you in kind”) is understood by the children.
4. Sinkwine as a means of characterizing literary heroes.
It is known that junior schoolchildren experience difficulties in characterizing the image of the hero, associated with a lack of appropriate vocabulary in their dictionary, a lack of understanding of the motives of his actions, a tendency to perceive the hero statically, and an inability to see the author’s attitude towards the hero. And here again syncwine can help. For example, when working with the story of V.A. Oseeva “Bad” can be composed as a syncwine with the words kitten, boys.
Kitty
Disheveled, defenseless
Meowed, got scared, snuggled
The woman drove the dogs away from the kitten
The rescue
Boys
Calm, indifferent
They waited, did not interfere, were surprised
They weren't even ashamed
Badly
When working with true stories L.N. Tolstoy's "Kostochka" syncwine about the main character can help children reorient from judgment (he broke the ban, did not confess) to understanding the actions of a little boy who never ate a plum and could not overcome temptations, and sympathy.
Vania
Small, stupid
I couldn’t resist, I ate it, I confessed
The author sympathizes with his hero
Shame
Thus, the “syncwine” technique, taking into account different options its use has rich educational and educational potential. It organically combines the child’s creativity, his personal position, independent written speech, and interpretation of the text read.

Questions and assignments for the topic
1.What is analysis of a work of art? What place does it occupy in the literary development of a child reader? What is the difference between the concepts of analysis and working with text?
2.How can you motivate text analysis? What techniques do you find most effective?
3. Why is it necessary to rely on the child’s personal experience when analyzing a work of art?
4.What is the duality of the teacher’s position in a literary reading lesson?
5.Name the main manifestations of naive realism of a primary school student.
6.What are the levels of perception of a work of art by children?
7. Familiarize yourself with L.A.’s method of literary listening. Efrosinina. Select a text and develop a literary listening lesson for grades 1-2.
8. Make a cluster diagram “Methods of studying a literary work in elementary school.”
9. Make a memo for the teacher for a literary reading lesson. What actions will you recommend to the teacher and what actions will you limit?
10. How do you understand the words of L. Vygotsky: “It is necessary to abandon the view that aesthetic experiences are directly related to moral ones, and that every work of art contains an impetus for moral behavior. A work of art should not be taken as illustrating a general moral point where all attention is focused on that point and the work remains out of sight of the student.”
11. Practice composing syncwines: choose any literary text and make a syncwine about the main character (the phenomenon that the author describes; about the text as a whole, about its author)

This is Chink's story. What feelings arise when reading the following episodes: 1) The gopher hunt 2) The first encounter between a dog and a coyote 3) Chink's pursuit 4) Bill's departure and Chink's order to guard the tent 5) Chink's last fight with a coyote 6) Bill's return to save the dog. Possible answers joy annoyance excitement laughter anxiety pity

Answers:

Hunting for gophers - laughter First encounter with a dog - annoyance Chink's pursuit - excitement Bill's departure... - pity Chink's last fight... - anxiety Return... - joy

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• Add 8 to the sum of numbers 34 and 5.
• Show solution: given function y=f(x), where f(x)=3+x. Write (f(2x)-3)(f(2x)-3)
• Correct the mistakes. 1.When I was coming back home, I saw that somebody was inside. 2. Last week I saw a film that I saw 3 times before. 3. I was learning French before I came to France. 4. I couldn’t fall asleep although I didn’t sleep for 2 nights. 5. He suddenly remembered that he didn’t switch off the iron. 6. I didn’t pass the exam because I wasn’t studying enough. 7. When I came in I saw that everyone slept. 8. I had got up, washed and shaved and had breakfast.

Try to characterize the features of the author's skill.
A. Dumas in his adventure-historical novels actively uses the entire range of author’s techniques that can attract the reader. He turns to what interests every reader - to the past. On this interesting background are being deployed fascinating stories, the development of which holds the reader’s attention, evokes his complicity and empathy. At the same time, it is necessary to note the mastery of the depiction of characters, the skillful use of all the details of the situation, which contribute to the active involvement of the reader in the course of events. If we try to characterize the author’s skill, we will note that we have before us a master of creating a plot, outlining human characters, creating a complex and unified picture of reproducing reality within the framework of a work of art.

What thoughts and feelings arise when reading this novel?

Reading a novel is often perceived as entertainment, as a vacation, in which life around you begins to be perceived as joyful and optimistic, although the circumstances of the plot do not seem to suggest this. However, often when reading, questions arise that are no longer able to be resolved by the author, but by the reader himself. And these questions and motivations for action are often realized in actions that are not at all related to the characters and plot of the novel, but are simply prompted by its content. Thus, collective “Musketeer Diaries” often appear, oaths are taken based on the code of honor of the musketeers, which largely predetermine the further behavior of student readers. Almost every reader can evaluate the measure and degree of influence of the book on his spiritual world and subsequent behavior after reading the book.

How can one explain the appearance of an endless number of dramatizations and film versions of the novel’s plot?

The fascination of the plot and the brightness of the characters' characters attracts readers. Peculiarities literary text, as well as its popularity, create a desire to use it to create works of other genres. You can try to name the genres in which The Three Musketeers were embodied - these are films, plays, parody novels, musicals, cartoons etc. Not all of them were successful, but the reader and viewer always looked with interest at new attempts to use their favorite plots and characters.

Try to dramatize any episode of the novel with your classmates.

Any dialogue can turn into a small scene that will show some quality of the hero, for example, his ingenuity or speed of reaction. At the same time, the vividness of a particular dialogue can be seen as using artistic techniques Dumas the playwright on the pages of a prose work. The novel “The Three Musketeers” is included in the school curriculum as extracurricular reading, and turning to voluntary creative work to create a dramatization will help all eighth-graders to engage in the process of discussing both the work of art with its features, and those problems that are especially important at the moment in this particular class .

Lecture No. 10

Perception and study of works in their generic specificity

The differentiation of approaches and techniques for analyzing texts belonging to different types of literature is due to the fact that each of them is perceived by readers differently. When mastering an epic, the reader’s main job is to compare the plot and characters with their author’s assessment. When reading lyrics, the reader is forced to use associative thinking, that is, to create objective pictures in his imagination that give impetus to the poet’s lyrical emotions. This stimulates an appeal to one’s own life experiences. By mastering drama, the reader is more free to interpret its meaning. Speculation becomes a necessary element.

Analysis of an epic work in middle and high school

The first stage of analysis is the development of the plot and compositional basis of the work. This is done by drawing up a plan, various types of retelling and reproductive conversation.

The second stage is the analysis of the characters’ images. It includes: 1) presentation (analysis of portrait characteristics, speech features); 2) determining the motives for actions (commenting); 3) identifying the hero’s self-esteem or assessment of him by other heroes; 4) identification of the author's assessment; 5) formulation of a value judgment.

The third stage is identification author's position. To do this, the following are used: 1) different types of commentary in order to recreate the historical or psychological situation that influenced the creation of the work; 2) comparison of the work with a real life basis or with other editions of the text; 3) analysis of various levels of the work. For example, having revealed that the basis of the composition of A. S. Pushkin’s “The Captain’s Daughter” is the compositional ring - the hero’s departure from home and his return home - it can be argued that the poet’s concept of honor is closely connected with the concept of family, home.

Study of epic works in secondary education

Epic works make up the bulk of texts studied in secondary classes. It must be remembered that at least 15 minutes during the lesson should be devoted to reading the work.

One face of the text is selected for analysis.

It could be subject. When analyzing the thematic level of a work, the question is asked: “What event(s) is reflected by the writer?” And further: “What unites them?”

Another facet - plot and compositional organization. First, the same question is asked, but then it is asked how individual events are related to each other, why they are told about them in such a sequence. As already mentioned, you can use such forms of work as drawing up a plan, brief or selective retelling of the text. Focusing on the composition of the work leads to work on comparing or contrasting episodes, determining the place and functions of the landscape, describing the interior, and the portrait.

One more facet - image analysis.

Analysis of a work in any selected aspect should lead to the identification of the author’s main idea, what he wanted to tell the reader.

Be sure to emphasize the connection between the lessons. When studying the works of Chekhov, Bunin, and Gorky one by one in the 6th grade, one should remind them that they are contemporaries, urging children to compare their destinies and motivate the selection of life material.

Analysis of epic works in high school

In high school there is a need to analyze not only the text itself, but also its complex relationships with other texts of the writer, with literary trends, with the sociocultural characteristics of the era, that is, the text must be perceived in context.

The specifics of the context should be determined in the introductory sessions. In lectures that present material about the life and work of the writer, it is necessary to talk about how the atmosphere of the era influenced him; in review lectures the nature of this atmosphere is outlined. For example, speaking about the work of A.S. Griboyedova, A.S. Pushkin, one can characterize their time, with all its complexity and inconsistency, as an era of upsurge, which is characterized by a sense of unity, the presence of hopes for beneficial changes in society, and a social ideal.

In high school, it is recommended to conduct lessons on preliminary familiarization with the work. These could be: 1. Class reading of the beginning of the work, followed by a short conversation. For example, you can read chapter 1 of the novel “Eugene Onegin” and ask questions: a) what do we learn about the life of light in the 20s of the 19th century?; b) about Onegin’s upbringing?; c) about the author?; 2. Commented reading of the beginning of the work; 3. Grouping characters; 4. Highlighting the main storylines.

The analysis of the work is carried out mainly through the identification of significant parts, chapters, and episodes. First comes the holistic analysis, then the specific and problematic analysis.

Episode analysis technique

However, it is important to analyze the structure of the episode itself, talking about its exposition or beginning, about the specifics of the story about the event or description (what parts it consists of, how they alternate.

By the nature of the content, episodes can be: 1. Event-based; 2. Characterological; 3. Psychological; 4. Author's digressions.

Lecture No. 11

Analysis of lyrics at school

Disputes related to the study of lyrics in school arise from the fact that analysis of a lyric work always evokes a feeling of resistance of the material. The rationalism of analysis often destroys the emotional impression.

In the 50-60s, in the heat of methodological controversy, there were proposals to abandon analysis and limit lessons on lyrics to the preparation and implementation of expressive reading of poems, having previously created an appropriate atmosphere with the help of works of painting and music. But still, the prevailing opinion was that the lack of analysis gives rise to a reader who is receptive but superficial, reacting only to a “layer of emotions.”

The teacher needs to imagine that in the class there may be students who are deaf to the perception of lyrics in general, and those who narrow the content of the lyric text by replacing its content with their own feelings and experiences.

In lessons on analyzing lyrics, you need to constantly focus on the specifics of a) plot (plotlessness), b) images in which the internal prevails over the external (images-states, images-thoughts, images-feelings), c) on the special role of rhythmic-intonation text level.

Studying lyrics in middle school

Lessons on studying lyrics should be especially vivid and emotional.

The teacher's opening statement should contain not only a message about the facts that preceded the writing of the poem or influenced its writing, but also a mandatory emphasis on the feelings and experiences of the poet. Therefore, it can be a mistake to provide a very detailed and intrusive biographical commentary. For example, you cannot stop only at a meeting with A.P. Kern, anticipating the analysis of the poem by A.S. Pushkin "I remember" wonderful moment...”, it is necessary to say about the poet’s state at the moment of this meeting, about his attitude towards love in general.

The reading of the poem is carried out only by the teacher. The audio recording is listened to after analyzing the poem.

Three approaches to analyzing lyrics: 1. Creative reading; 2. Post-trophic analysis; 3. Problem analysis.

The conversation devoted to the analysis of the lyrics also begins with the question: “What feeling did this poem give you?” But then comes another link: “Now we’ll see what images and pictures contributed to the emergence of this feeling.”

Thus, when analyzing lyrics, we first hypothetically determine lyrical theme, then the images that participate in the development of the theme are identified, then there is a conversation about the principles and techniques for creating individual images and the nature of their interaction with each other (composition).

The concept of “lyrical hero” should be initially introduced so that students do not use the words “poet” and “author”.

The main mistake is a separate analysis of the content and form of the poem (“Now let’s find the paths in the poem”). The conversation about tropes and rhythmic and intonation features is not conducted separately, but in parallel.

For example, when studying the poem by M. Yu. Lermonotov “Sail” by V.Ya. Rez advises choosing the following sequence of questions:

1.What pictures appear in your imagination after reading the poem? (The endless blue sea, illuminated by the sun, and a distant white sail, barely visible behind the haze arising from the sun reflected in the water).

2. Which lines in each quatrain contribute to the creation of images, help us imagine these pictures? (First two lines).

3. What role do the last two lines play in each quatrain? (They express the feelings and thoughts of the lyrical hero).

4. What theme appears in the last two lines of the first quatrain? What keyword helps define it? (Search subject, word “searching”).

5. Do these pictures change from quatrain to quatrain? (Yes)

6. What means does the poet use to paint these pictures? (In the first quatrain these are epithets, in the second - verbs of movement, in the third - epithets again, but solemnly sublime)

7. How are changes in the thoughts of the lyrical hero related to the change of these pictures? How does it express itself in rhythm and intonation? (At first there is concern, a question, then an attempt at an answer; and in the end there is an answer, but with a hint of a question. That is, the internal tension increases).

8. How do the picture that appears in the last quatrain and the thought of the lyrical hero relate to each other? (At first glance, they are contrasting).

9. What idea does the contrast of the last quatrain express? (The need for an eternal search, rejection of immutability, stopping).

The introduction of theoretical and literary concepts should be made after analyzing the text.

The end of analysis is often preparation for expressive reading.

Analysis of lyrics in high school

In high school, the relationship between the emotional and the logical in the perception and analysis of the lyrical text changes. The poem is increasingly perceived as a single whole, in which everything is interconnected. The theoretical approach is strengthening: compositional and genre analysis are beginning to dominate.

The poem is studied in the context of the poet’s life and creative path, the literary process.

Approaches to studying lyrics in high school

In the context of studying the life and work of the poet. This allows us to see the connection of the poem with certain period poet's life, a stage of his creative evolution.

Motivational-thematic approach. Groups of poems united by a theme or motif are analyzed. Allows you to more clearly trace the specifics of the disclosure of a certain topic in the poet’s work. But it can destroy a holistic understanding of his lyrics. Therefore, it is most often used as an auxiliary one.

Problematic approach. Also used as an auxiliary. Although it is possible to subordinate the system of lessons on the poet’s work to the solution of any problem. For example, studying the lyrics of A.A. Blok can be prefaced with a problematic question: “Why did the singer of the Beautiful Lady become the author of “The Twelve”?”

In high school, the skills of analyzing poetic texts are further improved. Both in class and at home, the teacher assigns independent work on a holistic analysis of the poem, since the previous stages should have prepared schoolchildren for such work.

However, most often we are faced with inability and inability to carry out work of this kind. And here the question arises about the scheme for analyzing the poem. This is a difficult question. The presence of a scheme adapts to it the work of poets who are completely different in their creative specifics.

All existing schemes suggest going from the context through determining the problematic and thematic content of the poem to identifying the specifics of artistic and expressive means.

Scheme No. 1

1.Contexts (biographical, historical, literary).

2. Extra-structural elements (topic, problem, idea).

3.Features of artistic and expressive means.

4. Figurative row.

Scheme No. 2

1. Characteristics of the lyrical hero.

2. Artistic and sound originality.

3. Features of the composition.

4. Rhythmic organization and sound design.

5. Interrelation of all components.

Scheme No. 3 (M. Gasparov)

1. Upper level: ideas, motives, images.

2. Intermediate level: stylistics (vocabulary, tropes, syntax).

3. Lower (phonetic) level: rhythm, intonation, sound writing.

Scheme No. 4

1. Contexts.

2. The main poetic theme, its development: a) at the level of the system of images (methods of creating images); b) at the composition level; c) at the rhythmic-intonation level.

3. The idea of ​​the poem.

4. Its place in the embodiment of one of the leading themes of the poet’s work or in his work as a whole.

In high school, when analyzing lyrics, the form of comparison is actively used.

Various editions of poems are compared. For example, in Pushkin’s poem “Anchar” there were such variants of the line “But a man / Sent a man to Anchar - with an imperious word;

autocratic;

indifferent;

with an imperious gaze (final version).

Working on this line indicated the poet’s desire to emphasize the impersonality, soullessness of power, in whose appeal to the lower there is no human principle.

The description of the slave’s death also changed: “And he lay down, emitting cries...”;

“And the poor slave died at the feet of...”

Different points of view on the poem are compared. For example, thinking about the poem “Monument,” one can cite the hypothesis of M. O. Gershenzon, who argued that Pushkin models in this poem what the crowd wants to see in his work. He himself saw something different in him. “The entire “Monument” is like one suppressed sigh.”

Lecture No. 12

Analysis of a dramatic work at school

It must be taken into account that although the volume of dramatic material studied at school is not so large, in terms of genre it is quite diverse. The initial acquaintance with drama is the study of fairy tale plays (“Two Windows” by L. Petrushevskaya (5th grade), “Twelve Months by S. Marshak (6th grade), “City of Masters” by T. Gabbe (6th grade), M Maeterlinck “The Blue Bird” (6th grade), E. Schwartz “Shadow” (7th grade), N. Gogol “The Inspector General” (8th grade), W. Shakespeare “Romeo and Juliet”, J. Moliere “Tartuffe” ", A. Griboyedov "Woe from Wit" (9th grade). At the last stage - the study of philosophical plays, such as "At the Depth" by M. Gorky in 11th grade.

Difficulties in perceiving and analyzing drama at school are associated with its generic characteristics. Methodist Korst writes that “schoolchildren, even in high school, poorly and often incorrectly supplement the text of the play with their imagination... They do not use the author’s instructions given in the form of a list of characters, stage directions, descriptions of the scenery and setting of the action. As a rule, they do not pay attention to episodic and off-stage characters, they have a very unclear idea of appearance characters, their way of speaking, moving, they don’t see the mise-en-scène, etc.”

Therefore, in drama lessons, you need to constantly focus on its specifics: the absence of narration, direct characteristics of the characters, and detailed descriptions.

Introductory classes

In middle classes - a story about the origin of drama, familiarity with its specifics, the concepts of “act”, “action”, “phenomenon”, “dialogue”, “monologue”, “mise-en-scene” (the placement of actors and stage settings at different moments in the performance of the play) .

In high school – a) detailed historical and everyday commentary; b) creative and stage history of the play (first productions, audience perception, photographs of scenes from performances, performers).

Home reading of works should be preceded by questions necessary to understand the meaning: “Who are the main characters?”, “What are the main events that occur in the play?” You can suggest drawing up a diagram of the grouping of characters or a plot diagram.

The most preferable way to analyze drama is “following the author.” There is a mandatory retelling of scenes that are not analyzed in detail. This allows us to once again pay attention to the cause-and-effect relationship of the episodes. This also helps to identify the main conflict of the play, the sequence of its implementation, and the place of each character in it.

Methodists advise analyzing drama by action, determining the place of each action in the development of the conflict.

For example, V.G. Marantzman suggests devoting 4 lessons to 4 acts of A.S.’s comedy. Griboyedov "Woe from Wit".

Lesson 1 “Alexander Andreich Chatsky is coming to you!” Action is analyzed as exposure. The arrangement of the characters, their relationships to each other are determined - family, close, official, friendly, social. In the same action one can highlight the beginning of a love affair.

Lesson 2 “The present century and the past century.” The beginnings of public intrigue are revealed. The positions of the parties are determined. It is traced how Chatsky’s attitude towards others, the nature of his remarks and monologues changes.

Lesson 3 “Crazy about everything...”. The third act is seen as the culmination of both conflict lines.

Lesson 4 “A million torments...”. The denouement of the play is analyzed.

When analyzing drama, it is necessary to draw students’ attention to the specifics of time in it. It is necessary to find out during what period of time the action takes place, how time gaps are indicated.

Analysis of the image system.

Pay attention to whether the story, biography of the hero is given and how it is done. Should you trust someone who talks about the hero? For example, you can propose, after analyzing the first and second acts of the comedy “Woe from Wit,” to compile a biography of Chatsky, which can be presented in the form of a report in a subsequent lesson. The students report that the hero is a young nobleman, the owner of an estate with three or four hundred peasant souls. After his father’s death, he was taken into foster care at Famusov’s house and there he became friends with Sophia. Having matured, he left Famusov’s house and studied at the university. Then he leaves for three years to travel and during this time he has some connection with military service: he either served in the army or there were troops stationed in the place where he lived. At the same time, he tried himself in the civil service, but could not overcome his rejection of the established order. Now he devotes his time to science and art.

Encourage you to find elements of the hero’s portrait characteristics (not only in the author’s remarks, but also in the words of other characters).

Analyzing the statements and actions of the characters, the characteristics of other characters, identify the specifics of their life position.

Pay attention to what actions of the heroes are committed before our eyes, and what - behind the scenes.

However, the main thing is that in drama analysis lessons, students should constantly feel like they are sitting in an auditorium.

The idea of ​​heroes is formed by questions: “How do you imagine the hero?”, “What does he look like in this or that scene?”, “With what intonation does he pronounce these words?” You can also use a form of oral word drawing.

The relationships between the characters and the internal background of what is happening are revealed through staging. You can introduce a game element - invite students to be directors and think about the location of the actors on stage, their movement around the stage, gestures, and facial expressions.

Of course, in both cases, students must rely on the stage directions and statements of the characters. When carrying out this work, the teacher can offer students the opportunity to rely on their experience as a director. For example, one can cite interesting ideas from the books of A. Efros, where he reflects on the specifics of his craft. Commenting on the approach to the production of Romeo and Juliet, A. Efros says: “Romeo and Juliet” begins with a scene of a street fight. A street fight, and in front of it a small exhibition of the types of fighters.

They behave as basely as any street hooligan usually behaves. They idiotically set themselves up for a fight. Then they look for something to complain about. And finally the stabbing begins.” Or, during the production of “The Seagull,” a comment is made on the scene where Treplev asks Arkadina to bandage his head: “He asks his mother to bandage him. It always sounds melodramatic. In fact, what needs to be played is not his exit, but the fact that his mother feels bad after Sorin fainted... I always loved my mother very much. Then Nina. But Nina is no longer with him. And some kind of double tenderness for the mother, no matter what.

If only she could feel it!

But he said careless words about Trigorin, and she instantly insulted him. He immediately became helpless and confused. There is no need for them to shout at each other - this is banal. He was confused, although he also said offensive words. He says, not shouting, but in confusion: “Go to your dear theater and act there in pitiful, mediocre plays.”

Another type of work is adding ideas about a character based on the meaning of the scene or play as a whole. For example, in the play “Woe from Wit” at the Leningrad Bolshoi Drama Theater named after. Gorky, directed by G.A. Tovstonogov, Petrushka is the same age as Famusov. The director sought to emphasize the decrepitude of the “past century.”

When carrying out this kind of work, it is necessary to select those who will become critics who evaluate the director's interpretation.

Final classes

In middle grades: a) reading by role; b) viewing and evaluating independently prepared dramatizations of the text; c) collective writing of a script based on a fairy tale or fable. First you need to evaluate the scenic capabilities of the proposed text. Writing a script is difficult: 1. Memories of the characters; 2. Abundance of meaningful descriptions; 3. Simultaneous development of action in two plans; 4. Presence of copyright deviations. We can discuss cases where it is permissible to deviate from the original: inclusion or exclusion of an actor. When writing a script, the main storyline, the nature of the conflict, and the main characters are outlined. Next, the text is transformed into the characters’ remarks. When introducing stage directions, you need to pay attention to the fact that there are stage directions naming characters, and others that accompany their speech; d) viewing of the performance with obligatory subsequent discussion. You can divide the class into several groups. Some evaluate the work of the director, others - the acting, others - the work of decorators and props, and others - costumers and make-up artists.

In high school: a) watching a play followed by discussion; b) problematic lessons that allow you to deepen your understanding of the studied work. These could be lessons on analyzing the genre specifics of drama. For example, a lesson on the topic “Why Chekhov called “ The Cherry Orchard"comedy?"

Lecture No. 13

Organization of educational activities of a literature teacher

Planning the process of teaching literature at school

Planning ensures consistency and continuity in the teaching of literature.

There is calendar, thematic and lesson planning.

Thematic planning allows you to allocate the time needed to study certain topics.

Calendar planning connects the study of material with specific timing of lessons.

In actual school practice, teachers use mainly thematic plans, which are developed on the basis of existing programs by ministries and Regional Educational Institutions.

Lesson planning is the preparation of lesson notes.

Literature lesson: structure, types, goals

A lesson is the most optimal form of organizing a teacher’s educational activities today. It emerged as a specific form of educational work in the 18th century. The time boundaries of the modern lesson were determined by Ya. A. Komensky.

Types of lessons.

There are several classifications.

By learning purpose(V. Golubkov)

Learning new material;

Improving acquired knowledge;

Application of knowledge.

By nature of work(N. Kudryashev)

- study of works of art;

- studying the theory and history of literature;

- speech development.

By method of implementation

The teacher dominates (lesson-lecture, lesson-conversation);

Students dominate (seminars, conferences, games).

Most often, mixed combined lessons are taught:

By way of conducting: conversation with elements of a lecture;

According to the learning objective: learning new material with elements of improving acquired knowledge;

By the nature of the work: the study of works of art with the introduction of material on the history and theory of literature.

New types of lessons

Integrated lessons (a combination of studying two subjects: literature and history, literature and music, literature and painting). Integration principles are usually thematic or problem-based;

Conducting lessons in the form of a concert, a fairy tale, an excursion, a Socratic conversation, an intellectual auction (entourage: gong, hammer; form: “sale” of quotes, price - source).

However, in their desire for external catchiness of names, teachers either often do not really fill the lesson with new content, or are guilty of bad taste, resurrecting, for example, the trials of literary heroes that were popular in the 20s.