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What is verbal creativity. Modern problems of science and education

What is verbal creativity. Modern problems of science and education

15.02.2019

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MINISTRY OF EDUCATION OF SCIENCE AND RF

FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER EDUCATION

"BASHKIR STATE UNIVERSITY" (BASHGU)

INSTITUTE OF LIFELONG EDUCATION

FINAL CERTIFICATIONJOB

On the topic of:"Formation of verbal creativity in children of senior preschool age"

Completed:

Student of retraining courses

"Pedagogy and psychology

preschool education"

Platonova Anna Yurievna

G. Ufa2016

Introduction

ChapterI. Theoretical basis formation of verbal creativityamong older preschoolers in the psychological and pedagogical literature

1.1 The concept of creativity, children's verbal creativity and the study of the problems of its formation by psychologists and teachers

1.2 The concept of connected speech, its main forms and characteristics of connected statements

1.3 Fairy tale genre - as a factor in the development of children's verbal creativity

Chapter I Conclusions

ChapterII. Formation of verbal creativity in children of senior preschool age in the process of writing fairy tales

2.1 Studying the level of development of verbal creativity in children 5-6 years old

2.2 The formation of verbal creativity in the process of writing fairy tales by children

Chapter II Conclusions

Conclusion

Bibliography

INTRODUCTION

The relevance of research

Preschool age is a unique period when the foundations of all future human development are laid. That is why the main goal of education is the comprehensive harmonious development of the individual.

The development of personality is closely connected with the formation of creativity, knowledge of the world around and mastery of the native language.

The child learns to think creatively, improves his thinking, learning to create.

At present, society constantly feels the need for people who are able to think outside the box, act actively, find original solutions to any problems. life problems. All of these qualities are characteristic of creative individuals.

Creativity itself is complex view activities and there are different trends in the nature of the emergence of children's creativity.

In some cases, creativity is seen as the result of the child's inner emerging forces. Formation creativity comes down to a spontaneous moment. With this view, there is no need to teach children to draw, sculpt, they themselves strive for self-expression, freedom, creating compositions from strokes, spots. Supporters of this direction do not interfere in the process of the formation of the artistic abilities of the child.

In other cases, the source of children's creativity is sought in life itself, in appropriate pedagogical conditions, which are a guarantee of active influence on the development of children's creativity. Proponents of this view believe that abilities are formed gradually, in the process of vigorous activity children, taking into account the individual characteristics of the child. coherent speech verbal fairy tale creativity preschooler

Verbal creativity is part of the overall development of the creative abilities of preschoolers in various forms artistic activity:

Its formation is based on the perception of works of fiction, oral folk art in the unity of content and artistic form;

Acquaintance with different genres of literary works, their specific features, the understanding of which is aggravated in the visual and theatrical activities. That contributes to the development of creative imagination.

At preschool age, creativity manifests itself in various types of artistic activity (visual, musical, motor, game and speech).

A lot of scientifically based works and methods of honored teachers and psychologists are devoted to this: N.A. Vetlugina, L.S. Vygotsky, A.V. Zaporozhets, N.S. Karpinskaya, N.P. Sakulina, S.L. Rubinshtein and others. The work of teachers - practitioners O.S. Ushakova, F.A. Sokhina, O.M. Dyachenko and others.

Many researchers (N.S. Karpinskaya, L.A. Penevskaya, R.I. Zhukovskaya, O.S. Ushakova, L.Ya. Pankratova, A.E. Shibitskaya) directed their efforts to studying the nature of the creative manifestations of children in the literary activities, as well as on the search for ways to form the creative abilities of the child. These studies have shown that the development of artistic creativity is closely related to the development of cognitive and personal characteristics of a preschooler. A folk tale plays a huge role in the formation of creativity, which enriches the world of spiritual experiences of the child, helps him to feel the artistic image and convey it in his writings.

A fairy tale for a child is not just fiction, fantasy, it is a special reality. Creating fairy tales is one of the most interesting types of verbal creativity for children.

The development of verbal creativity is a multicomplex, multifaceted process and depends, first of all, on the general speech development of children; the higher its level, the more freely the child manifests himself in writing fairy tales and stories.

Object of study: the process of formation of creativity in children 5-6 years old.

Subject of study: verbal creativity of children 5-6 years old on the material of fairy tales.

Purpose of the study: study of the development of verbal creativity of children 5-6 years old, the formation of a sustainable interest in creativity in children.

Research objectives

1. Selection and study of psychological and pedagogical literature on the problem of the development of verbal creativity in preschool children.

2. The study of the content and artistic form of Russian folk tales and their perception by children.

Methodological basis research is the theory of the development of imagination and children's verbal creativity, formulated in the works of L.S. Vygotsky, N.A. Vetlugina, O.M. Dyachenko, N.P. Sakulina, as well as the works of psychologists and teachers on the problem of the development of coherent speech - O.S. Ushakova, S.L. Rubinstein, F.A. Sokhina, A.V. Zaporozhets.

Research methods:

§ analysis of literature in the field of psychology and pedagogy,

§ pedagogical experiment,

§ conversations, observation of children,

§ analysis of products of children's creativity.

Theoretical and practical significance work

The conducted research can be used when working on the development of coherent speech in children, as well as in the process of forming children's literate oral speech and fostering interest in independent verbal creativity.

Organization of the study

The final certification work consists of an introduction, two chapters, a conclusion, a list of references.

CHAPTERI. THEORETICAL FOUNDATIONS FOR THE FORMATION OF VERBAL CREATIVITY IN OLDER PRESCHOOL CHILDREN IN PSYCHOLOGICAL AND PEDAGOGICAL LITERATURE

1.1 The concept of creativity, children's verbal creativity and the study of the problems of its formation by psychologists and teachers

An adult, raising a child, must subtly and tactfully support the children's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the learning of creativity, since creativity itself can only develop in individual individuals.

Questions of creativity, its development and manifestation in humans excited the minds prominent people throughout the formative years of human history.

Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore, according to Aristotle, it is so important to teach children creativity, the ability to observe and understand people, their experiences from an early age. Proving that the imprint of the creator's personality lies on his works, Aristotle not only gave examples of how different artists interpret the same subjects in different ways, but also proved the need to develop independence, activity and individuality in raising children, because otherwise, outstanding scientists and creators will never come out of them.

The nature of creativity is studied by philosophers, psychologists and educators who study certain aspects of creative thinking and personality, based on the specifics of their sciences.

Yes, in philosophical dictionary the following definition of creativity is given: "Creativity is a process of human activity that creates qualitatively new material and spiritual values." In philosophy, creativity is the ability of a person to create from the material delivered by reality (on the basis of cognition of the laws of the objective world), which has arisen in labor. new reality meeting the diverse social needs. In the process of creativity, all the spiritual forces of a person take part, including imagination, as well as the skill acquired in training and practice, which is necessary for the implementation of a creative idea.

IN pedagogical science creativity is defined as "an activity aimed at creating a socially significant product that has an impact on the transformation of the environment."

The value of a child's creativity is limited to the creation of something new for himself, and this determines the value of creativity for the formation of personality.

Describing the creativity of children, the famous didacticist I.Ya. Lerner identified the following features of creative activity:

1- independent transfer of previously acquired knowledge to a new situation;

2 - vision of a new function of the subject (object);

3 - vision of the problem in a standard situation;

4 - vision of the structure of the object;

5 - ability to alternative solutions;

6 - combining previously known methods of activity into a new one.

I. Ya. Lerner argues that creativity can be taught, but this teaching is special, it is not like how knowledge and skills are taught. At the same time, creativity is impossible without the assimilation of certain knowledge and mastery of skills and abilities.

Creativity, according to teachers, should be understood as the process of creating images of a fairy tale, story, game, etc., as well as ways, ways of solving problems (graphic, game, verbal, musical).

The psychology of creativity explores the process, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:

1 - as a mental process of creating a new one,

2 - as a set of personality traits that ensure its inclusion in this process.

Imagination is a necessary element of creativity, creative activity of a person. It is expressed in the mood of the image of the products of labor, ensures the creation of a program of behavior in cases where problem situation characterized by uncertainty.

Imagination or fantasy is one of the highest cognitive processes in which the specific human nature of activity is clearly revealed. Imagination allows you to imagine the result of human labor even before it begins.

Imagination, fantasy is a reflection of reality in new unexpected, unusual combinations and connections.

Describing the imagination from the point of view of its mechanisms, it must be emphasized that its essence is the process of transforming ideas, the creation of new images based on existing ones.

The synthesis of representations in the processes of imagination is carried out in various forms:

§ agglutination - "gluing" of various parts, qualities;

§ hyperbolization - an increase or decrease in an object and a change in the number of parts of an object or their displacement;

§ sharpening, emphasizing any signs;

§ schematization - representations from which the image of fantasy is constructed merge, differences are smoothed out, and similarities come to the fore;

§ typification - highlighting the essential, repeating in homogeneous facts and embodying them in a specific image.

In psychology, it is customary to distinguish between active and passive imagination. In the case when fantasy creates images that are not brought to life, outlines programs of behavior that are not implemented and often cannot be implemented, passive imagination manifests itself. It can be intentional or unintentional. Images of fantasy, deliberately caused, but not connected with the will aimed at bringing them to life, are called dreams. Unintentional imagination manifests itself when the activity of consciousness, the second signal system, is weakened, when a person is temporarily inactive, in a semi-drowsy state, in a state of passion, in sleep (dreams), with pathological disorders of consciousness (hallucinations), etc.

active imagination can be creative and recreative. Imagination, which is based on the creation of images that correspond to the description, is called recreative. Creative imagination involves the independent creation of new images that are realized in original and valuable products of activity. The creative imagination that emerged in labor remains an integral part of technical, artistic and any other creativity, taking the form of an active and purposeful operation of visual representations in search of ways to satisfy needs.

In order to understand the psychological mechanism of imagination and the creative activity associated with it, it is necessary to find out the connection that exists between fantasy and reality in human behavior. L.S. Vygotsky in his work “Imagination and Creativity in Childhood” identifies 4 forms of connection between imagination and reality.

The first form is that every creation of the imagination is always built from elements taken from reality and contained in the previous experience of man. Imagination can create more and more degrees of combination, combining first the primary elements of reality, then again combining images of fantasy (mermaid, wood goblin, etc.). Here we can distinguish the following regularity: "the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience, because this experience is the material from which fantasy constructions are created."

The second form is a more complex connection between the finished product of fantasy and some complex phenomenon of reality. This form of communication becomes possible only through someone else's or social experience.

Third form - emotional connection. Images of fantasy give internal language for a human feeling "This feeling selects the elements of reality and combines them into such a connection, which is conditioned from the inside by our mood, and not from the outside, by the logic of these images themselves" . However, not only feelings affect the imagination, but imagination also affects the feeling. This influence can be called "the law of the emotional reality of the imagination."

The fourth form lies in the fact that the construction of fantasy can be something essentially new, which has not been in human experience and does not correspond to any really existing object. Having taken on a material embodiment, this "crystallized" imagination becomes reality.

L.S. Vygotsky also describes in detail the psychological mechanism of creative imagination. This mechanism includes the selection of individual elements of the subject, their change, the combination of the changed elements into new integral images, the systematization of these images and their "crystallization" in the subject incarnation.

O.M. Dyachenko distinguishes two types or two main directions in the development of imagination. Conventionally, they can be called "affective" and "cognitive" imagination. An analysis of affective imagination can be found in the works of Z. Freud and his followers, where it is indicated that imagination and creativity are an expression of unconscious conflicts that are directly related to the development of innate tendencies.

Cognitive imagination was studied by J. Piaget. In his studies, imagination was associated with the development symbolic function in a child and was considered as a special form of representative thinking, which makes it possible to anticipate changes in reality.

O.M. Dyachenko characterizes these types of imagination and the stages of their development during preschool childhood.

Stage I - 2.5-3 years. There is a division of the imagination into cognitive (with the help of puppets, the child plays out some actions familiar to him and their possible options) and affective (the child plays out his experience).

II stage - 4-5 years. The child learns social norms, rules and patterns of activity. Imagination involves a planning process that can be called stepwise. This leads, in turn, to the possibility of directed verbal creativity, when the child composes a fairy tale, stringing events one after another. Cognitive imagination is associated with rapid development role play, drawing, designing. But at the same time, without special guidance, it is mainly reproducing in nature.

III stage - 6-7 years. The child freely operates with the basic patterns of behavior and activity.

Active imagination is also aimed at eliminating the received psycho-traumatic effects by varying them many times in the game, drawing and others. creative types activities. Cognitive imagination is manifested in the child's desire to look for ways to convey processed impressions.

It should also be emphasized that imagination, which is of exceptional importance for the implementation and organization of activities, is itself formed in various types of activities and fades when the child ceases to act. Throughout preschool childhood there is a constant transformation of the child's imagination from an activity that needs external support (primarily on toys), into an independent internal activity that allows for verbal (composing fairy tales, poems, stories) and artistic (drawings, crafts) creativity. The child's imagination develops in connection with the assimilation of speech, and therefore, in the process of communicating with adults. Speech allows children to imagine objects they have never seen before.

Fantasy is an important condition for the normal development of a child's personality, it is necessary for the free identification of his personality. creative possibilities. K.I. Chukovsky in the book "From Two to Five" spoke about the fantasy of children in its verbal manifestation. He very accurately noticed the age (from two to five), when the child's creativity is especially sparkling. The lack of confidence in the laws existing in the field of language "directs" the child to the knowledge, development, modeling of existing connections and relationships in the world of sounds, colors, things and people.

K.I. Chukovsky defended the right of children to a fairy tale, proved the child's ability to realistically understand the figurativeness of a fairy tale.

Fantasy favors necessary element creative activity in art and literature. The most important feature of the imagination involved in the creative activity of an artist or writer is its significant emotionality. An image, a situation, an unexpected plot twist that occurs in the writer's head turns out to be passed through a kind of "enriching device", which is the emotional sphere of a creative person.

In any activity, two stages are absolutely necessary: setting the task (goal) and solving the problem - achieving the goal. In artistic creative activity, the idea, by its very essence, is the staging creative task. Literary ideas, despite all their differences, are set in other types of activity. It's about about the task of writing a work of art. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through their work.

It should be noted that children are quite sincerely involved in literary works and live in this imaginary world. The child's verbal creativity opens up richer possibilities for understanding the world and conveying his impressions, limiting the child's actions to any technical methods.

The issues of the formation of children's verbal creativity were studied by E.I. Tiheeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. Creative storytelling of children is considered as such an activity that captures the personality of the child as a whole: it requires active work imagination, thinking, speech, manifestations of observation, volitional efforts, participation of positive emotions.

Verbal creativity is the most complex type of creative activity of a child. There is an element of creativity in any children's story. Therefore, the term "creative stories" is a conventional name for stories that children come up with on their own. Features of creative storytelling lie in the fact that the child must independently invent content (plot, imaginary characters), based on the topic and his past experience, and clothe it in the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. An equally difficult task is to accurately, expressively and entertainingly convey your idea. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from the available knowledge, introduce an element of fantasy into them and compose a creative story.

At the heart of verbal creativity, notes O.S. Ushakov, lies the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. Verbally, she considers creativity as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems. The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.

The verbal creativity of children is expressed in various forms: in writing stories, fairy tales, descriptions; in the composition of poems, riddles, fables; in word creation (creation of new words - neoplasms).

For the methodology of teaching creative storytelling, understanding the features of the formation of artistic, in particular verbal creativity and the role of the teacher in this process is of particular importance. ON THE. Vetlugina noted the legitimacy of the extension of the concept of "creativity" to the activities of the child, delimiting it with the word "childish". In the formation of children's artistic creativity, she singled out three stages.

The first stage is the accumulation of experience. The role of the teacher is to organize life observations that affect children's creativity. The child must be taught a figurative vision of the environment (perception acquires an aesthetic coloring). Art plays a special role in enriching perception. Works of art help the child feel more beautiful in life, contribute to the birth artistic images in his work.

The second stage is the actual process of children's creativity, when an idea arises, a search for artistic means is underway. The process of children's creativity is not very developed in time. The emergence of an idea in a child is successful if an attitude is created for new activity(come up with a story). The presence of a plan encourages children to search for means of its implementation: the search for a composition, highlighting the actions of the characters, the choice of words, epithets. Creative tasks are of great importance here.

At the third stage, new products appear. The child is interested in its quality, strives to complete it, experiencing aesthetic pleasure. Therefore, it is necessary to analyze the results of creativity by adults, their interest. Analysis is also needed for the formation of artistic taste.

Knowledge of the features of the formation of children's verbal creativity makes it possible to determine pedagogical conditions needed to teach children about creative storytelling.

1. One of the conditions for the success of children in creative activity is the constant enrichment of the experience of children with life impressions. This work can be of a different nature depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books.

Reading books, especially of a cognitive nature, enriches children with new knowledge and ideas about the work of people, about the behavior and actions of children and adults, exacerbates moral feelings, provides excellent examples literary language. The works of oral art contain many artistic devices (allegory, dialogue, repetitions, personifications), attract with a peculiar structure, art form, style and language. All this affects the verbal creativity of children.

2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary. Children need to replenish and activate the dictionary due to the words-definitions; words that help describe experiences, character traits of characters. Therefore, the process of enriching the experience of children is closely related to the formation of new concepts, a new vocabulary and the ability to use the available vocabulary.

3. Creative storytelling is a productive activity, end result it should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, to master the structure of a coherent statement, to know the composition of the narrative and description.

Children learn these skills at previous age stages, reproducing literary texts, compiling a description of toys and paintings, inventing stories based on them. Especially close to verbal creativity are stories about one toy, inventing an end and a beginning to the episode depicted in the picture.

4. Another condition is the children’s correct understanding of the “invent” task, i.e. to create something new, to talk about something that actually did not exist, or the child himself did not see it, but “thought it up” (although in the experience of others there could be a similar fact).

Subject creative stories should be connected with common tasks educating children in the right attitude to life around them, cultivating respect for the elders, love for the younger, friendship and camaraderie. The topic should be close to the experience of children (so that a visible image arises on the basis of imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or a fairy tale.

There is no strict classification of creative stories in the methodology of speech development, but the following types can be conditionally distinguished: stories of a realistic nature; fairy tales; descriptions of nature. In a number of works, writing stories by analogy with a literary image stands out (two options: replacing the characters with the preservation of the plot; changing the plot with the preservation of the characters). Most often, children create contaminated texts, since it is difficult for them to give a description without including an action in it, and the description is combined with a plot action.

The techniques for teaching creative storytelling depend on the skill of the children, the learning objectives, and the type of storytelling.

IN senior group can be used as a preparatory step the simplest trick telling children together with the teacher on questions. A topic is proposed, questions are asked, to which the children, as they are posed, come up with an answer. At the end of the best answers is a story. In essence, the educator "composes" together with the children.

IN preparatory school for a group, the tasks of teaching creative storytelling become more difficult (the ability to clearly build a storyline, use means of communication, and be aware of the structural organization of a text). All kinds of creative stories are used, different teaching methods with gradual complication.

The easiest is considered to be inventing a continuation and completion of the story. The teacher gives a sample that contains a plot and determines the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, to the environment in which the action takes place.

Auxiliary questions, according to L.A. Penevskaya, are one of the methods of active leadership in creative storytelling, which makes it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.

The plan in the form of questions helps to focus the attention of children on the sequence and completeness of the development of the plot. For the plan, it is advisable to use 3-4 questions, more of them leads to excessive detailing of actions and descriptions. What can hinder independence children's plan. In the course of the story, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics or how to end the story.

A more complex technique is storytelling according to the plot proposed by the teacher. (The teacher set a learning task for the children. He motivated it, suggested a topic, a plot, named the main characters. Children must come up with content, arrange it verbally in the form of a narrative, arrange it in a certain sequence).

Coming up with a story on an independent developed topic is the most difficult task. The use of this technique is possible if children have elementary knowledge about the structure of the narrative and the means of intratextual communication, as well as the ability to title their story. The teacher advises what a story can be about, invites the child to come up with a name for the future story and make a plan.

Learning to invent fairy tales begins with the introduction of fantasy elements into realistic stories.

At first, it is better to limit fairy tales to stories about animals: “What happened to the hedgehog in the forest”, “The Adventures of the Wolf”, “The Wolf and the Hare”. It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But you need a certain level of knowledge about the habits of animals, their appearance. Therefore, learning the ability to invent fairy tales about animals is accompanied by looking at toys, paintings, watching filmstrips.

Reading and telling children short stories, fairy tales helps to pay attention to the form and structure of the work, to emphasize an interesting fact revealed in it. This has a positive effect on the quality of children's stories and fairy tales.

The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, in the speech activity of preschoolers, the reserve is activated. famous fairy tales in order to assimilate their content, images and plots. At the second stage, under the guidance of the educator, an analysis is made of the scheme for constructing a fairy tale narrative, the development of the plot (repetition, chain composition, traditional beginning and ending). Children are encouraged to use these elements in their own writing. The teacher turns to the methods of joint creativity: he chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, starts the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of fairy tale narration is activated: children are invited to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters.

In Gianni Rodari's The Grammar of Fantasy. "Introduction to the Art of Storytelling" talks about some ways to make up stories for kids and how to help kids make up their own stories. The recommendations of the author of the book are also used in kindergartens in Russia.

The most common technique is the game "What would happen if ...", where children are asked to find a solution to a certain situation.

"Old games" - games with notes with questions and answers. It begins with a series of questions that outline in advance a certain scheme, the end of the story.

Sample questions:

§ Who was that?

§ Where is it?

§ What did you do?

§ What did you say?

§ What did the people say?

§ How did it all end?

The children's answers are read aloud as a continuous story.

"Nonsense Technique" - writing absurdities, fables, "distortions" in two lines.

"Creating a limerick" is a variant of organized and legitimized nonsense. The structure of a limerick might be as follows:

1. Choosing a hero.

2. His characteristic.

3, 4. Realization of the predicate (performing some action).

5. The final epithet characterizing the hero.

The use of these techniques will successfully affect the development of verbal creativity of preschoolers.

1.2 The concept of connected speech, its main forms and characteristics of connected statements

Speech is one of the most important mental functions. Psychologists and psycholinguistics consider speech as a process of generating and perceiving an utterance, as a type of specifically human activity that provides communication.

The development of speech in preschool childhood (mastery of the native language) is a process that is multifaceted in nature. So, this process is organically connected with mental development, since the developed thinking of a person is speech, language - verbal-logical thinking. The relationship of speech development, language acquisition and mental, cognitive development testifies to the great importance of language for the development of thinking.

However, the relationship between speech and intellectual development the child must also be considered in the opposite direction - from intellect to language. This approach can be conditionally designated as an analysis of the language function of the intellect, that is, elucidation of the role of the intellect, mental activity in mastering the language.

E.I. Tikheeva in her work “The Development of Children's Speech” states that “sensations and perceptions are the first step in understanding the world, developing speech is based on sensory representations. The organs of external senses are an instrument of knowledge and, in the development of a child's speech, they play a major role. The correct perception of objects is the main mental work of the child. The sensory and speech development of the child takes place in close unity, and work on the development of speech cannot be separated from work on increasing the senses and perceptions.

Speech rebuilds all mental processes: perception, thinking, memory, feelings, desires, and so on. Mastering speech allows the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Speech has such a magical effect by virtue of the fact that it frees the child from situationality and from the pressure of the objective environment. Unlike any other signal or any vocalization, a word is a sign that always carries a universal meaning, including not just a specific object, but a thought, image, concept. Mastering the language, the child masters the sign system, which becomes a powerful tool for thinking, self-management, and, above all, communication.

The close connection between the speech and intellectual development of children appears especially clearly in the formation of coherent speech, that is, meaningful, logical, consistent speech.

Coherent speech is understood as a detailed presentation of a certain content, which is carried out logically, consistently and accurately, grammatically correct and figuratively.

In the methodology, the term "coherent speech" is used in several meanings:

1. Process, activity of the speaker;

2. Product, result of this activity, text, statement;

3. The name of the section of work on the development of speech.

Additionally, how the terms "statement", "text" are used synonymously.

The utterance is a speech activity, and the result of this activity: a certain speech product, more than a sentence. Its core is the meaning (T.A. Ladyzhenskaya, M.R. Lvov).

“Text” is used in the methodology as a synonym for the word “statement” in its second meaning (“the result of speech activity”), more often in relation to a written statement (text of an article, text of presentation, text analysis, etc.). We can note two interrelated, but non-identical aspects of the text - coherence and integrity.

Coherent speech is inseparable from the world of thoughts, the coherence of speech is the coherence of thoughts. Coherent speech reflects the logic of the child's thinking, his ability to comprehend the perceived and correctly express it. By the way a child builds his statements, one can judge the level of his speech development.

Connected speech is a single semantic structural whole, including interconnected and thematically united, complete segments.

In his article "On the Tasks of Speech Development" F.A. Sokhin wrote: “In order to coherently talk about something, you need to clearly present the object of the story (subject, events), be able to analyze, select the main properties and qualities, establish different relationships (causal, temporal) between objects and phenomena” . In addition, it is necessary to be able to select the words most suitable for expressing a given thought, to build simple and complex sentences, use a variety of means to connect individual sentences and parts of the statement.

The main function of connected speech is communicative. It is carried out in two main forms - dialogue and monologue. Each of these forms has its own characteristics that determine the nature of the methodology for their formation.

Dialogic speech is a particularly vivid manifestation of the communicative function of language. The main feature of the dialogue is the alternation of the speaking of one interlocutor with listening and subsequent speaking of another person. Oral dialogic speech takes place in a specific situation and is accompanied by gestures, facial expressions, and intonation. Speech may be incomplete, abbreviated, sometimes fragmented. Dialogue is characterized by: colloquial vocabulary and phraseology multiplicity, reticence, abruptness; simple and complex incoherent sentences; short-term reflection. The coherence of the dialogue is provided by two interlocutors. Dialogic speech is marked by involuntariness, reactivity.

Monologue speech is a coherent, logically consistent statement that proceeds for a relatively long time, not designed for an immediate reaction from the audience. It has an incomparably more complex structure, expresses the thought of one person, which is unknown to the listeners. The statement contains a more complete formulation of information, it is more detailed. In a monologue, internal preparation is necessary, a longer preliminary consideration of the statement, concentration of thought on the main thing. The monologue is characterized by: literary vocabulary, expansion of the statement, completeness, logical completeness, syntactic formality, the coherence of the monologue is provided by one speaker.

The two forms also differ in motives. Monologue speech is stimulated by internal motives, and its content and language means are chosen by the speaker himself. Dialogic speech is stimulated not only by internal, but also by external motives.

Monologue speech is a more complex, arbitrary, more organized type of speech, and therefore requires special speech education.

Coherent speech can be situational and contextual. Situational speech is associated with a specific visual situation and does not fully reflect the content of thought in speech forms. It is understandable only when taking into account the situation that is being described. The speaker makes extensive use of gestures, facial expressions, and demonstrative pronouns.

In contextual speech, unlike situational speech, its content is clear from the context itself. The complexity of contextual speech lies in the fact that it requires the construction of an utterance without taking into account the specific situation, relying only on linguistic means.

In most cases, situational speech has the character of a conversation, and contextual speech has the character of a monologue.

Connected speech performs the most important social functions: helps the child establish connections with other people, determines and regulates the norms of behavior in society, which is a decisive condition for the development of the child's personality.

Features of the development of coherent speech were studied by L.S. Vygotsky, S.L. Rubinstein, A.M. Leushina, F.A. Sokhin and other scientists in the field of psychology.

In mastering speech, L.S. Vygotsky, baby goes from part to whole: from a word to a combination of two or three words, then to a simple phrase, even later to complex sentences. The final stage is a coherent speech, consisting of a series of detailed sentences.

The study of A.M. Leushina, which reveals the patterns of development of coherent speech of children from the moment of its occurrence. She showed that the development of speech goes from mastering situational speech to mastering contextual speech, then the process of development of these forms of speech proceeds in parallel.

The formation of coherent speech, the change in its functions depends on the content of the conditions, forms of communication of the child with others.

The formation of coherent speech in young children and the factors of its development were studied by E.I. Tiheeva, G.L. Rozengarp-Pupko, N.M. Aksarina.

The methodology for conducting a conversation with children is set out in the works of E.I. Tiheeva and E.A. Flerina, distinguishes between the classifications of conversations, from the target setting and the method of conducting.

The role of a generalizing conversation and the methodology for conducting it are reflected in the fundamental research of E.I. Radina, where the principles of selecting content for conversations, the structure of the conversation and methods of activating the speech and thinking of children are revealed.

The questions of the formation of a monologic form of coherent speech were developed by V.V. Gerbovoy, O.S. Ushakova, V.I. Yashina, E.A. Smirnova, N.O. Smolnikova.

They give a characteristic of connected statements. Coherent utterances of children can be characterized from different points of view: according to the function, the source of the utterance, the leading mental process on which the child relies.

Depending on the function, four types of monologues are distinguished: description, narration, reasoning and contamination. At preschool age, predominantly contaminated statements are observed, in which elements of all types can be used with a predominance of one of them.

Description is a characteristic of an object in statics. The description highlights a general thesis that names the object, then comes the characteristic of essential and secondary features, qualities, actions. The description ends with a final phrase expressing an evaluative attitude towards the subject. When describing, lexical and syntactic means are important, aimed at defining the object, its features. Therefore, epithets, metaphors, comparisons are used. The description is characterized by the listed intonation.

IN kindergarten children describe pictures, toys, objects, interiors, natural phenomena, people.

Narration is a coherent story about some events. Its basis is a story that unfolds over time. Narrative serves to tell about the developing actions. The material in it is presented on the basis of those semantic connections that are suggested life situation. The sequence of events is determined by their actual course. In narrative monologues, means are used that convey the development of an action: aspect tense verb forms; vocabulary denoting time, place, mode of action; words to connect sentences.

Preschool children compose stories on a visual basis and without relying on visualization.

Reasoning is a logical presentation of the material in the form of evidence. The reasoning contains an explanation of a fact, a certain point of view is argued, the causal relationships of the relationship are revealed. In reasoning, two main parts are obligatory: the first is that which is explained or proved; the second is the explanation or proof itself. In its structure, a thesis (usually an initial sentence), a proof of the thesis put forward, and a conclusion-conclusion are distinguished. The discussion uses various ways expressions of causal relationships, subordinate clauses with the union “because”, verb phrases, nouns in the genitive case with the prepositions “from, from, because of”, introductory words, the particle “because” and the non-union connection, as well as the words: here, for example.

Preschool children master the simplest conversational style reasoning.

In kindergarten, children are taught two main types of monologues - independent storytelling and retelling. They differ from each other in that in the first case, the child selects the content for the utterance and draws it up independently, while in the second case, the material for the utterance is a work of art.

Retelling is a meaningful reproduction of a literary image in oral speech. When retelling, the child conveys ready-made author's content and borrows ready-made speech forms.

A story is an independent detailed presentation by a child of a certain content. In the methodology, the term “story” is traditionally used to denote various types of monologues independently created by children (description, narration, reasoning, contamination).

Depending on the source of the statement, monologues can be distinguished:

1. For toys and objects,

2. According to the picture,

3. From experience,

4. Creative stories.

Storytelling through toys and pictures. Toys, objects, and pictures are excellent materials for teaching different types of utterances, as they suggest the content of speech. When describing, children rely on the perception of visual material, isolate the characteristic features of objects and phenomena. Often the description also includes a story about the performed or possible actions with a toy or object, about how these things appeared in the child. In narrative monologues, children convey a certain plot, prompted by a picture, ready-made game situation, created with the help of toys, and also come up with a story based on the picture, going beyond the one shown in the figure, or on toys (one or more). In storytelling using toys and pictures, children learn to select subject-logical content for descriptions and narratives, acquire skills, build a composition, link parts into a single text, selectively use language means.

Narrative from experience is based on ideas obtained in the process of observation, as well as various types of activities, and reflects the experiences and feelings of the child. In monologues, the skills of narration, description, and reasoning are formed from collective and individual experience.

Creative stories are stories about fictional events. Creative storytelling in the methodology is understood as an activity, the result of which is the invention of fairy tales by children, realistic stories with independently created images, situations, logically constructed, clothed in a certain verbal form. A realistic story reflects objects and phenomena existing in nature, although they have not been encountered in the child's personal experience. Fairy tales most often define a reflection artistic experience accumulated by children in the perception and retelling of folk and literary tales. Children can also make up stories. Creative writings can be not only narrative, but also descriptive.

Depending on the leading mental process on which the "childish" story is based, the story can be:

1. The story by visual, tactile or auditory perception is descriptive and leads the child to reasoning. Children talk about those objects or phenomena that they perceive at the moment. The content of texts created by children is determined by the objects and phenomena themselves, and visually perceived signs and qualities facilitate the choice of appropriate linguistic means. TO this species stories include descriptions of toys, paintings, natural objects, natural phenomena. In storytelling by perception, it ensures the unity of sensory, mental and speech development.

2. Narrative from memory is a story from experience, about what has been experienced, perceived earlier. This is a more complex activity than storytelling by perception. It relies on arbitrary memory.

3. Imaginative storytelling is children's creative stories. From a psychological point of view, the basis of creative stories is creative imagination. In new combinations, children use representations stored in memory, previously acquired knowledge.

Any connected monologue statement is characterized by a number of features:

1) Integrity (the unity of the theme, the correspondence of all micro-themes of the main idea);

2) Structural design (beginning, middle, end);

3) Connectivity (logical connections between the sentence and parts of the monologue);

4) The volume of the statement;

5) Smoothness (lack of long pauses in the process of storytelling).

To achieve the coherence of speech, a number of skills are needed, namely: the ability to understand and comprehend the topic, to determine its boundaries; select necessary material; arrange the material in the correct sequence; use the means of the language in accordance with the literary norms and tasks of the utterance; construct speech intentionally and arbitrarily.

1.3 Fabulousgenre -as a factor in the development of children's verbal creativity

Verbal creativity is a dual process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form.

One of the factors determining the development of children's verbal creativity should be recognized as the influence of folklore.

For centuries Bashkir folklore played and plays a great educational role in the life of the peoples of Bashkortostan. IN AND. Baimurzina notes that folk pedagogy is fully reflected in oral folk art.

K.Sh. Akhiyarova believes that the people's pedagogical culture The Bashkir people are made up of elements of folk art: fairy tales, legends, myths, legends.

The concept of " children's folklore entered science relatively recently. Children's folklore developed directly with folk pedagogy. With children's folklore, every nation prepares its children from the day they are born to working life.

Firstly, "children's folklore" has an educational impact on the child's personality, forms artistic abilities, mental properties necessary for such a complex process as verbal creativity, creates the prerequisites for its occurrence; secondly, it has a direct influence on the child’s verbal activity, develops the education of speech, determines the structure and style, nourishes it with its material, provides images, develops coherent speech, equips it with a way to construct a narrative. Studying the properties of folklore, one should dwell on the fairy tale, that form of the epic genre, to which the children's composition is closest of all.

Fairy tale - very popular genre oral folk art, the genre of epic, prose, plot. The old name of the tale "fable" indicates the narrative nature of the genre. The subject of the story in it are unusual, amazing, and often mysterious and strange events, while the actions have an adventurous character.

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DEVELOPMENT OF VERBAL CREATIVITY OF PRESCHOOL CHILDREN

E.Yu.Galochkina - teacher

(ANO DO "Planet of Childhood" Lada "DS No. 187 "Solnyshko", Togliatti)

One of the priority areas of pedagogical science at the present stage is the study of the creative activity of the child, the search for ways to form it. Studies by psychologists (L.S. Vygotsky, B.M. Teplov) and teachers (N.A. Vetlugina, N.P. Sakulina, E.A. Flerin, Dybina O.V., Tanina L.V.) prove that creative activity meets the needs and abilities of the child, is accompanied by the activity of his emotional and intellectual forces.

In studies devoted to the problem of verbal creativity, folklore, in particular, a folk tale (M.M. Konina, L.M. Pankratova, O.I. Solovieva, etc.) .). The authors note the obvious influence of individual elements of the fairy tale on the composition of children. At the same time, the studies note that the correspondence of the specifics of folk tales to the peculiarities of children's perception does not yet ensure the positive impact of folklore on the development of children's verbal creativity. statements (violation of the structure of the narrative, limited use of stylistic means). The psychological prerequisites that determine the possibilities of children in the field of speech creativity, on the one hand, and the difficulties that arise when constructing a fairy tale narrative, on the other hand, are a problem that arises when organizing work with children to develop the verbal creativity of preschoolers.

In Russian pedagogy, verbal creativity is considered as a two-pronged process: the accumulation of impressions in the course of cognition of reality and their creative processing in verbal form (N.A. Vetlugina, O.S. Ushakova).

In a special study on teaching creative storytelling, performed by N.A. Orlanova, the following conditions for teaching creative storytelling are highlighted:

Enriching the experience of children;

The richness of the dictionary and the ability to use it;

Mastering the ability to coherently tell, knowledge of the structure of the story: beginning, climax, end;

Children's correct understanding of the "think up" task.

The dynamics of the development of children's creativity under the influence of learning is traced in her study by S.K. Alekseeva. She justifies the following learning sequence:

Stage 1: To teach children to subordinate their experience to a certain plan, to draw children's attention to compositional language features stories (enrichment of life and literary experience child, familiarization with linguistic means of expression, analysis of the compositional structure of the work);

Stage 2: Determine the correct balance between the child's desire to show himself in creative activity and the ability to find suitable means to express his intention. Draw the attention of children to the evaluation of stories (inventing the beginning and ending of the story, describing the environment in which the action takes place, independent artistic addition to the stories);

Stage 3: To put the child in front of the need to act more consciously, to use conditional methods of verbal creativity more independently (independent selection of plot, compositional and linguistic means, a deeper analysis of the proposed works, familiarization with new linguistic means);

Stage 4: Improve children's ability to combine and

transform the received ideas and perceptions, describe

action in the sequence of its development of a logical connection.

For the development of creative activity of children, it is necessary to create special pedagogical conditions:

a) selection of literary works, taking into account the possibility of a specific embodiment of their content;

b) holding special creative tasks developing theatrical abilities of children (combining movements with expressiveness of speech, facial expressions and gestures);

c) the active participation of children in the preparation of the script and the preparation of performances.

At preschool age, a child is able not only to perceive works of art, to express his attitude towards characters, but also to comprehend their behavior, generalize, analyze, experiment, and on this basis create something new for himself and his peers. Artistic imagination plays a special role in this.

KD Ushinsky repeatedly emphasized the importance of developing speech and abilities by means of art, starting from preschool age. It is not enough if children understand the content of the work, it is necessary to feel its expressive features of expression and figurative words. In the future, they will perceive literary works more deeply, learn to subtly distinguish the semantic shades of the word and transfer them to their work.

Of course, for the development of coherent monologue speech, it is necessary to form ideas about the composition of the story, the ability to link sentences and parts of the statement together, to use a variety of lexical and stylistic means. However, the concept of "verbal creativity" is much broader than "creative storytelling", as it includes active writing, inventing fairy tales, stories, poems, riddles, scenarios, not only in the classroom, but also in free self-study.

activities.

An example of a literary text from the standpoint of the structural and semantic unity of content and form is a folk fairy tale.

Numerous researchers of folk tales (V.A. Bakhtina, N.M. Vedernikova, R.M. Volkov, N.V. Novikov, A.I. Nikiforov, E.V. Pomerantseva and others) as a distinctive feature fairy tale call it a magical-fantastic beginning. The unity of the magical and the fantastic makes the fairy tale especially attractive to a children's audience. A peculiar combination of real and fictional is the content of a fairy tale.

Fairy tale style is single system interrelated methods and means. Traditional language forms are the subject of study of folklore phraseology. Among the typical means of fairy tale poetics are, first of all, stable verbal formulas, traditional formulas, poetic clichés, which are an important element in the construction of fairy tales of this type (sayings, beginnings, endings) and performing various functions in the narrative.

Another stylistic device of the tale is the use constant epithets, serving as decoration of the work. The probability of using one or another combination in an epic or song epic is associated with the features of the reflection of the outside world in various genres. According to O.A. Davydova, 38.7% of certain combinations of a fairy tale are not actually fairy tales, that is, they are also recorded in other folklore genres “violent head”, “hot arrow”.

The traditional poetic means of a fairy tale also include: the use of synonyms "with that, the wedding was played in a good way, in a good way" and paired combinations of words expressing one concept "let's go with bread and salt to meet, maybe we will make peace", the use of antonyms "not much , no little time has passed" or amplification "willy-nilly had to agree", the use of general language proverbs and sayings "the pike is sharp, but don't eat the ruff from the tail", the use of various comparisons "Ivan sat on the wolf. The wolf ran like an arrow"; lexical and syntactic turns that form parallel syntactic constructions “It is written on the pillar: “To go on the right road - you will not see good, and to go on the left road - you will not be alive.”

M.M. Konina distinguishes two types of children's compositions: creative processing of famous fairy tales and actually creative fairy tales and notes the presence in them of the characteristic features of a fairy tale ( typical plots, miraculous transformations and elements of heroics, miraculous objects, fabulous rituals).

In her opinion, "the development of children's verbal creativity goes along the line of qualitative growth under the influence of the quantitative accumulation of new fairy-tale images."

The folk tale traditionally refers to the circle " children's reading” and is one of the genres most loved by children. Fairy tales have a great influence on the moral and aesthetic development preschooler. A colorful, romantic image of the fairy-tale world, the idealization of positive characters, an obligatory happy ending, fascination combined with instructiveness - all this evokes a vivid aesthetic reaction in children, contributes to the development of aesthetic feelings. A fairy tale embodies the high ideals of the people, their wisdom. The dynamics of a fairy tale requires intellectual tension, a comparison of facts and events in the assimilation of the semantic line of the plot, i.e. stimulates cognitive activity.

To identify the features of the perception of a fairy tale by children of senior preschool age and to determine the level of verbal creativity in coherent speech of preschoolers, we used the method of O.S. Ushakova, highlighting the criteria and indicators.

Criteria

1. Features of the perception of a fairy tale

Name of essential features

Determining the content of a fairy tale

Highlighting Structural Parts of Text

Preservation of language means of expression

2. Features of verbal creativity

Ability to subdue the storyline common theme

The use of techniques for revealing the images of characters and features of the plot of a fairy tale

Ability to use different types of sentences

The ability to formulate a statement according to the laws of the composition of a fairy tale

Using expressiveness

3. Determination of the development of coherent speech

The ability to determine the topic of the utterance and correctly reproduce its content

Ability to use different types of communication between sentences

Use of different types of offers.

First task. In order to determine the features of the perception of a fairy tale in the unity of its content and artistic form, the fairy tale "Sister Alyonushka and brother Ivanushka" was proposed.

Second task. To identify the level of verbal creativity, the situation "Continue the tale" was proposed.

Third task. Determining the level of development of coherent speech was carried out on the example of the fairy tale "Geese-swans".

To enhance the motivation of the statement, various speech situations were used (“A conversation about a fairy tale”, “A fairy tale on the phone”, “Compose a fairy tale”). The choice of fairy-tale material was determined by the requirements of the speech development methodology for the selection of works of art with the principles of pedagogy and aesthetics.

The incorrect answers of the children consisted in the indistinguishability of a fairy tale and a story.

The diagnostic results showed that children from the seventh year of life do not have a clear idea of genre features fairy tales, which, in our opinion, should be reflected in the writings of children.

Children's understanding of the content of a fairy tale was determined by identifying the ability to recognize the theme of this statement. No cases were identified during the survey. high level understanding the content, which requires the child to have elementary skills in analyzing the work. Based on the diagnostic results,levels of children's perception of folk tales.

I level (high).Determine the genre of the story. Call it essential features. Summarize the content of the story. They see the boundaries of the structural parts of the text. They strive to preserve the language means of expression.

II level (intermediate).They correctly define the genre of a fairy tale, but in the order of argument they put forward both its essential and formal features. Determine the topic of the story. Often they experience difficulties in isolating the main parts of the composition. Use additional language tools.

III level (low).Difficulty in determining the genre of the work and in identifying hallmarks fairy tales. They do not understand the content of the work. They do not see the boundaries between the plot, the development of actions and the denouement of a fairy tale. Do not single out the means of expressiveness of the tale.

A necessary condition for the verbal creativity of preschoolers is the formation of coherent speech skills, therefore the purpose of task 2 was to determine the level of development of coherent speech when reproducing the content of a fairy tale.

Criteria for the analysis of retellings children have become traditional indicators in the methodology of speech development:

Understanding the topic
Scope and grammar of the utterance
Vocabulary of the utterance
Means of communication
Structural organization of each part
Fluency and independence of presentation.

The data obtained made it possible to determine the followinglevels of coherent speech of preschoolers.

I (high). Generalized determine the topic of the statement and correctly reproduce its content. Use different types of sentences, there are no grammatical errors. They use their exact word substitutions, a variety of ways to link between sentences. Correctly frame the statement. Independently retell the text without pauses.

II (medium). Determine the topic of the speech. Minor deviations from the text are allowed. Limited use of complex sentences, single grammatical errors are possible. Refer to individual means of language expressiveness. Communication methods are not diverse. In case of difficulty, use a small number of pauses and need additional questions.

III (low). Do not define the topic of the speech. Events are schematically conveyed without using expressive means. They make grammatical errors. When the content is transmitted, the compositional integrity is violated. They do not know how to retell the text on their own (they pause, repeat, need hints).

The children were given the task: “Imagine that you are a storyteller and come up with a fairy tale with miracles and magic.” No instructions were given to complete the tasks. Children's compositions were recorded and considered according to a number of indicators aimed at assessing both the content and the artistic form of the composition.

The second group of indicators consisted of some generally acceptedcreativity criteria:

Fluency is the ability to generate more ideas expressed in verbal formulations or drawings.

Flexibility is the ability to come up with a variety of ideas, move from one aspect of a problem to another, and use a variety of problem-solving strategies.

Originality is the ability to come up with an idea.

Authenticity is the correspondence of the emotional reaction to the needs, values and interests of the subject.

The results obtained during the performance of the assignment can serve as the basis for determininglevels of verbal creativityolder preschoolers.

I (high). Subordinate the storyline to a common theme. The techniques of revealing the images of characters and the features of the plot of a fairy tale are used in an original way in the composition. They turn to the traditional figurative and expressive means of a fairy tale.

II (medium). They try to stick to the chosen topic, inaccurate selection of the title. They use individual elements of a fairy tale in essays with an independent plot and simple content. They find it difficult to structure the narrative (one of the parts of the composition is missing).

III (low). They mostly adhere to the topic, but find it difficult to disclose it, there is no name. They schematically convey the events of the narrative or retell a well-known fairy tale without change.

An analysis of the results obtained showed a low level of development of children's verbal creativity and made it possible to determine the ways for further work.

We have developed and tested a system of classes and games with the inclusion of a fairy tale, created situations for game improvisations and involving children in the preparation of attributes, performances, exhibitions of children's creativity, which contributed to a significant increase in the level of verbal creativity of older preschoolers.

Questions of creativity, its development and manifestation in man have worried the minds of prominent people for many years of the formation of human history.

The nature of creativity is studied by philosophers, psychologists and educators who study certain aspects of creative thinking and personality, based on the specifics of their sciences.

Thus, the following definition of creativity is given in the philosophical dictionary: "Creativity is a process of human activity that creates qualitatively new material and spiritual values." In philosophy, creativity is the ability of a person to create (on the basis of cognition of the laws of the objective world) a new reality that satisfies diverse social needs from the material delivered by reality, which has arisen in labor. In the process of creativity, all the spiritual forces of a person take part, including imagination, as well as the skill acquired in training and practice, which is necessary for the implementation of a creative idea.

In pedagogical science, creativity is defined as "an activity aimed at creating a socially significant product that has an impact on the transformation of the environment."

The value of a child's creativity is limited to the creation of something new for himself, and this determines the value of creativity for the formation of personality.

Describing the creativity of children, the famous didacticist I.Ya. Lerner identified the following features of creative activity:

1- independent transfer of previously acquired knowledge to a new situation;
2 - vision of a new function of the subject (object);
3 - vision of the problem in a standard situation;
4 - vision of the structure of the object;
5 - ability to alternative solutions;
6 - combining previously known methods of activity into a new one.

The psychology of creativity explores the process, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:

1 - as a mental process of creating a new one,
2 - as a set of personality traits that ensure its inclusion in this process.

Imagination is a necessary element of creativity, creative activity of a person. It is expressed in the mood of the image of the products of labor, provides the creation of a program of behavior in cases where the problem situation is characterized by uncertainty.

Imagination, or fantasy, is one of the higher cognitive processes in which the specific human nature of activity is clearly revealed. Imagination allows you to imagine the result of human labor even before it begins.

Imagination, fantasy is a reflection of reality in new unexpected, unusual combinations and connections.

Describing the imagination from the point of view of its mechanisms, it must be emphasized that its essence is the process of transforming ideas, the creation of new images based on existing ones.

The synthesis of representations in the processes of imagination is carried out in various forms:

§ agglutination - "gluing" of various parts, qualities;
§ hyperbolization - an increase or decrease in an object and a change in the number of parts of an object or their displacement;
§ sharpening, emphasizing any signs;
§ schematization - representations from which the image of fantasy is constructed merge, differences are smoothed out, and similarities come to the fore;
§ typification - highlighting the essential, repeating in homogeneous facts and embodying them in a specific image.

The third form is an emotional connection. Fantasy images provide an inner language for a person's feelings "This feeling selects the elements of reality and combines them into such a connection that is conditioned from the inside by our mood, and not from the outside, by the logic of these images themselves" . However, not only feelings affect the imagination, but imagination also affects the feeling. This influence can be called "the law of the emotional reality of the imagination."

Cognitive imagination was studied by J. Piaget. In his studies, imagination was associated with the development of the child's symbolic function and was viewed as a special form of representational thinking, which makes it possible to anticipate changes in reality.

O.M. Dyachenko characterizes these types of imagination and the stages of their development during preschool childhood.

II stage - 4-5 years. The child learns social norms, rules and patterns of activity. Imagination involves a planning process that can be called stepwise. This leads, in turn, to the possibility of directed verbal creativity, when the child composes a fairy tale, stringing events one after another. Cognitive imagination is associated with the rapid development of role-playing, drawing, and construction. But at the same time, without special guidance, it is mainly reproducing in nature.

III stage - 6-7 years. The child freely operates with the basic patterns of behavior and activity.

Active imagination is also aimed at eliminating the received psycho-traumatic influences by varying them many times in the game, drawing and other creative activities. Cognitive imagination is manifested in the child's desire to look for ways to convey processed impressions.

Fantasy is an important condition for the normal development of a child's personality; it is necessary for the free expression of his creative potential. K.I. Chukovsky in the book "From Two to Five" spoke about the fantasy of children in its verbal manifestation. He very accurately noticed the age (from two to five), when the child's creativity is especially sparkling. The lack of confidence in the laws existing in the field of language "directs" the child to the knowledge, development, modeling of existing connections and relationships in the world of sounds, colors, things and people.

K.I. Chukovsky defended the right of children to a fairy tale, proved the child's ability to realistically understand the figurativeness of a fairy tale.

Fantasy is a necessary element of creative activity in art and literature. The most important feature of the imagination involved in the creative activity of an artist or writer is its significant emotionality. An image, a situation, an unexpected plot twist that occurs in the writer's head turns out to be passed through a kind of "enriching device", which is the emotional sphere of a creative person.

In any activity, two stages are absolutely necessary: setting the task (goal) and solving the problem - achieving the goal. In artistic creative activity, the idea, by its very essence, is the formulation of the creative task. Literary ideas, despite all their differences, are set in other types of activity. It's about writing a work of art. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through their work.

The issues of the formation of children's verbal creativity were studied by E.I. Tiheeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. Creative storytelling of children is considered as a type of activity that captures the personality of the child as a whole: it requires active work of imagination, thinking, speech, manifestation of observation, strong-willed efforts, participation of positive emotions.

The first stage is the accumulation of experience. The role of the teacher is to organize life observations that affect children's creativity. The child must be taught a figurative vision of the environment (perception acquires an aesthetic coloring). Art plays a special role in enriching perception. Works of art help the child to feel more beautiful in life, contribute to the emergence of artistic images in his work.

The second stage is the actual process of children's creativity, when an idea arises, a search for artistic means is underway. The process of children's creativity is not very developed in time. The emergence of an idea in a child is successful if an attitude to a new activity is created (let's think of a story). The presence of a plan encourages children to search for means of its implementation: the search for a composition, highlighting the actions of the characters, the choice of words, epithets. Creative tasks are of great importance here.

Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.

Reading books, especially of a cognitive nature, enriches children with new knowledge and ideas about people's work, about the behavior and actions of children and adults, exacerbates moral feelings, and provides excellent examples of the literary language. The works of oral art contain many artistic devices (allegory, dialogue, repetitions, personifications), attract with a peculiar structure, art form, style and language. All this affects the verbal creativity of children.

2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary. Children need to replenish and activate the dictionary due to the words-definitions; words that help describe experiences, character traits of characters. Therefore, the process of enriching the experience of children is closely related to the formation of new concepts, a new vocabulary and the ability to use the available vocabulary.
3. A creative story is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, to master the structure of a coherent statement, to know the composition of the narrative and description.

The theme of creative stories should be connected with the general tasks of educating children in the right attitude to life around them, cultivating respect for elders, love for the younger, friendship and camaraderie. The topic should be close to the experience of children (so that a visible image arises on the basis of imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or a fairy tale.

The techniques for teaching creative storytelling depend on the skill of the children, the learning objectives, and the type of storytelling.

In the older group, as a preparatory stage, you can use the simplest method of telling children together with the teacher on questions. A topic is proposed, questions are asked, to which the children, as they are posed, come up with an answer. At the end of the best answers is a story. In essence, the educator "composes" together with the children.

In a preparatory school group, the tasks of teaching creative storytelling become more complicated (the ability to clearly build a storyline, use means of communication, be aware of the structural organization of a text). All kinds of creative stories are used, different teaching methods with gradual complication.

The plan in the form of questions helps to focus the attention of children on the sequence and completeness of the development of the plot. For the plan, it is advisable to use 3-4 questions, more of them leads to excessive detailing of actions and descriptions. What can hinder the independence of children's ideas. In the course of the story, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics or how to end the story.

Learning to invent fairy tales begins with the introduction of fantasy elements into realistic stories.

The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, the stock of known fairy tales is activated in the speech activity of preschoolers in order to assimilate their content, images and plots. At the second stage, under the guidance of the educator, an analysis is made of the scheme for constructing a fairy tale narrative, the development of the plot (repetition, chain composition, traditional beginning and ending). Children are encouraged to use these elements in their own writing. The teacher turns to the methods of joint creativity: he chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, starts the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of fairy tale narration is activated: children are invited to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters.

The most common technique is the game "What would happen if ...", where children are asked to find a solution to a certain situation.

"Old games" - games with notes with questions and answers. It begins with a series of questions that outline in advance a certain scheme, the end of the story.

Sample questions:

§ Who was that?
§ Where is it?
§ What did you do?
§ What did you say?
§ What did the people say?
§ How did it all end?

The children's answers are read aloud as a continuous story.

"Nonsense Technique" - writing absurdities, fables, "distortions" in two lines.

"Creating a limerick" is a variant of organized and legitimized nonsense. The structure of a limerick might be as follows:

1. Choosing a hero.
2. His characteristic.
3, 4. Realization of the predicate (performing some action).
5. The final epithet characterizing the hero.

The use of these techniques will successfully affect the development of verbal creativity of preschoolers.

6. Ancient Roman epic (Virgil "Aeneid", Ovid "Metamorphoses")

7. Forums of Rome as representative phenomena of ancient Roman culture.

8. Literature of Ancient Mesopotamia.

9. Culture of Ancient Rome. Periods of cultural development and their general characteristics.

12. Ancient Roman literature: general characteristics

13. Culture of Ancient Greece.

14. Ancient Roman lyric poetry.

1. Poetry of the Ciceronian period (81-43 BC) (heyday of prose).

2. The heyday of Roman poetry - the reign of Augustus (43 BC - 14 AD).

16. Ancient Greek tragedy. Sophocles and Euripides.

18. Traditions of ancient Indian literature.

22. Ancient Greek epic: the poems of Hesiod.

24. Ancient Greek prose.

25. Steppe civilizations of Europe. Characteristics of the culture of the Scythian world of Eurasia (according to the collections of the Hermitage).

26. Hebrew literary tradition (texts of the Old Testament).

28. Ancient Greek comedy.

29. Types of civilizations - agricultural and nomadic (nomadic, steppe). The main typology of civilizations.

30. Literature and folklore.

31. The concept of "Neolithic revolution". The main features of the culture of the Neolithic societies of the world. The concept of "civilization".

32. The concept of verbal creativity.

34. Ancient Greek tragedy. Aeschylus' work.

35. Chronology and periodization of the traditional culture of primitive society. Geocultural space of primitiveness.

38. Ancient Greek epic: Homer's poems.

40. Analysis of a work of ancient Indian literature.

32. The concept of verbal creativity.

LITERATURE Creativity, expressed in the word, both oral and written, verbal creativity. Theory of literature.

artistic literary creativity and verbal folklore ( bookstore.). Graceful With. (obsolete name for fiction).

Literature and literature.

A strict distinction between these two terms should not be made, and one can almost always use both equally. If, however, we still look for differences in their meaning, then we will attribute the first to written works, and the other to oral ones. It is more correct to speak of folk literature than of folk literature. The people carry out oral creativity: from generation to generation, fairy tales, songs, epics, proverbs pass from mouth to mouth - everything that can be combined under the name of literature. "Literature" comes from the Latin word litera, which means letter, letter, inscription; already from this it is clear that literature is verbal creativity, imprinted, enshrined in writing. Such a combination as theory literature, more common than the combination theory literature ; This means that the concept of literature is wider than the concept of literature. And above them both rises the concept of the word. Of course, not every word is literature: in order to become one, it must be artistic. But, on the other hand, the official word, the one that we use and exchange with others in our hostel, the word is useful, practical - it also has an element of artistry in itself. That is why it is not easy to draw a line where the word ends and where literature begins. Already the material from which literature creates is itself literary. In a certain sense, everyone who speaks is thus already a philologist, a writer, because our words bear the imprint of creativity and are phenomena of an artistic order: they are figurative, picturesque, sonorous. The gift of words is the gift of literature. And yet, from an infinite number of words that have not resounded in time, but left a mark in the memory of mankind, it is necessary, of course, to single out those that are self-verbalism, literature, as art. Broadly speaking, literature is the totality of all works of human thought, fixed in the word - whether oral or written; but usually when they say literature or literature , then these nouns are preceded by an adjective artistic. And therefore, not every verbal monument deserves to be studied in a course on the history of literature: "The Tale of Igor's Campaign" is literature, "Teachings of Vladimir Monomakh" is not. True, the term literature apply not only to works of art: there is, after all, scientific literature, and one can hear such an expression as literature subject when they mean a list of books or articles on a particular issue. It is interesting to note that the Russian word literature almost superseded by a foreign word literature : to such an extent the latter has entered the system of our speech, received in it the right of citizenship. They say: study literature; preserved, however, teacher literature and several similar expressions. What literature prevails over literature, this is so understandable: after all, in our time, it is not so much the people who verbally create as an individual personality - and personal, individual creativity is in a hurry to express itself in writing, in print - in literature.

33. Cultural epochs of primitiveness, the main characteristics of the culture of the Paleolithic and Mesolithic. The era of primitive culture is the longest in the history of mankind, and according to archaeological periodization (according to the material from which tools and weapons were made) includes the following main stages of development: the Stone Age (40 thousand years - 4 thousand years BC. ) - Paleolithic, Mesolithic, Neolithic - characterized by primitive stone tools, the construction of the first boats, rock art, reliefs and round plastics Hunting and gathering as a way of life of the Paleolithic to 12-8 thousand BC. e. are replaced by livestock breeding, a settled way of life, the appearance of a bow and arrow (Mesolithic). In the period from 9-4 thousand BC. e. in the life of primitive society, cattle breeding and agriculture are being established, the technique of stone processing is being improved; the Bronze Age (3-2 thousand BC) separated craft from agriculture and led to the creation of the first class states; the Iron Age (1st millennium BC) accelerated the heterogeneous development of world culture. Features of the Paleolithic. Development is not homogeneous, which has been largely influenced by climate change. One of the features of primitiveness is the low population size and density, because even in a resource-rich landscape, the demographic capacity is limited. In this era, a developed community life system was created, in which the initial social molecule was a small family (5-6 people). Small families united, forming camps, settlements, which could have 4-5 dwellings located on an area of 700-1500 m2. They had one long-term focus. Near the dwelling there were production sites and utility pits. Prehistoric societies were socially homogeneous, and the main form of division of labor was the division of activities between men and women. The economic strategy of the Paleolithic society was aimed mainly at hunting activities and the sustainability of food chains. there was selective hunting and seasonality of hunting cycles, as evidenced by multi-layered long-term camps (Kostenki on the Don is an excellent example) and many seasonal settlements. Mammoths, woolly rhinos, reindeer, and wild horses were hunted in the Franco-Cantabrian zone and on the Russian Plain, but mammoth hunting dominated. In the Urals and the Caucasus, cave bear hunting prevailed, in Central Asia and Altai - on a mountain goat, in the steppe zone of Europe (for example, the Amvrosievka site near Donetsk in Ukraine) - a wild hunt for bison, similar to the Paleo-Indian hunt for bison in the southwest of the United States. The management strategy also included gathering focused on local plant species. For hunting, spears, spears and darts equipped with solid silicon tips were used, as well as various remote weapons - spear throwers and harpoons made of hard wood and bone. The dwelling was, as noted, large, bright and warm caves with powerful cultural strata. . The widespread use of mammoth bones in combination with wood and stone is characteristic of the entire periglacial zone of Eurasia. Upper Paleolithic houses were oval or oblong; sometimes they were semi-dugouts, covered with a frame of tusks, poles, and skins; inside there were hearths lined with stone slabs, and around there were utility pits for storing tools, supplies of raw materials, food, etc. Light portable dwellings were practiced - bivouacs. At that time, there were specialized industries with a variety of effective tools: large and small scrapers, chisels, stones for softening and polishing skins, bone piercings, needles with an eye, special “working tables” for kneading skins and belts, etc. The clothing complex included analogues of capes or raincoats. As for household utensils, these were wickerwork, wooden, bone and stone utensils. The spiritual culture of the Paleolithic society is characterized by a certain level of complexity. The presence of early forms of religion (magic, totemism, animism) is associated by researchers with the rituals of the burial of animals and people, with images of supernatural beings. Image of a "sorcerer" from the Trois Frere cave, a drawing of a bison-man from the Chauvet cave in France, a bone figurine of a lion-man from Holenstein Stadel in Germany. The art of that time was an organic part of a syncretic, undifferentiated cultural complex, and not an independent sphere. The structure of the art world (morphology) included two main categories of monuments. This is a colorful monumental art, represented by paintings and engravings on the walls of caves, which is also called petroglyphs (drawings on stone). The second category is mobile art, or small form (portable) art, represented by a wide range of bone carvings, engravings and drawings on pebbles, ornamented tiles, ornaments and sculptural works. The main place in art was occupied by images of animals. The beast, apparently, was not only food for the people of that time, but also an ancestor, friend, enemy, victim and deity. The images of Paleolithic people were embodied mainly in sculptural works and, less often, in engravings on bone and horn. Plastic art is mainly female figurines, made mainly from mammoth tusks, in some cases - from stone and baked clay (terracotta)2. Figures of naked magnificent ladies with an emphasis on the generative functions of the "sacred" nature of women are called "Paleolithic Venuses". Images of men are extremely rare. Ornamental-geometric art became widespread in the culture of the Stone Age. It is found in all areas of the Upper Paleolithic ecumene, but is most characteristic of the Russian Plain and Siberia. Musical and dance art, recitation probably arose not earlier and not later than visual and architectonic. the existence of pantomime and round dances is confirmed by some petroglyphs of Eurasia. Musical instruments (flutes and percussion instruments) have been found in a number of Paleolithic sites. Features of the culture of the Mesolithic. During the Mesolithic period of prehistory, the glacier melted and retreated. Huge areas of the Earth were swallowed up by the waters of the oceans, the mammoth fauna and other species of large game animals disappeared, the descendants of the Cro-Magnons lost their traditional habitats and hunting. They survived one of the largest environmental disasters. The number and density of the population at this time increased; there was an intensification of the appropriating economy; increased use natural resources, and the methods of obtaining them have acquired more diverse and sophisticated features. New hunting strategies were aimed at hunting mountain, forest and steppe ungulates (elk, deer, wild boar, goat, etc.), in connection with which remote weapons - a bow and flint-tipped arrows - began to be widely and effectively used. On the sea coasts, a specialized marine fishery is emerging. A very important achievement in the sphere of economic culture was domestication - the domestication of wild animals (sheep, dogs, etc.). People move to open spaces, build semi-dugouts and squat dwellings from local raw materials. the emergence of extraordinary dynamics in multi-figured images of animals. Together with animals, the compositions now include people - men and women. Male images begin to dominate in art. Most often - a group of archers hunting for a fleeing animal. All images are schematized, a deformation appears in the image of a human figure, the concreteness of “primitive naturalism” disappears. In all regions of the world, geometric ornamentation is spreading in products made of stone, bone, wood, and clay. In this shorter time than in the Paleolithic time, humanity has accumulated strength for a new historical throw in cultural achievements associated with the Neolithic revolution.

Psychologists define creativity as an activity

as a result of which a person creates something new, original, showing imagination, realizing his plan, independently finding means for its implementation.

The largest domestic scientist and psychologist L.S. Vygotsky gave the following definition of the concept of creative activity: “We call creative activity such human activity that creates something new, it doesn’t matter whether what is created by creative activity is some thing of the external world or the construction of the mind, or a feeling that lives and is found in the person himself” . In addition, he emphasized that "the imagination does not repeat the impressions that have been accumulated before,

but builds some new rows of previously accumulated impressions. Bringing something new into our impressions and changing these impressions so that as a result a new, previously non-existent image appears.

L.S. Vygotsky revealed the mechanism for creating images of the imagination: “A person accumulates material from which his fantasy is subsequently built. This is followed by a very complex process of processing this material. The most important components of this process are the dissociation and association of perceived impressions.

An analysis of psychological and pedagogical research has shown that creativity is characterized by scientists with two main indicators: it must be of social value and provide completely new products.

In order to determine whether children's creativity meets these indicators, it is necessary to refer to the studies of psychologists (L.S. Vygotsky, B.M. Teplov, D.B. Elkonin) and teachers (N.A. Vetlugina, E.A. Flerina, A.E. Shibitskaya). They prove that creative activity meets the needs and abilities of the child, is accompanied by his emotional and intellectual activity,

and ensures the formation of ways of unified creative cognition, implemented in various activities

In the works of B.M. Teplova, A.V. Zaporozhets, L.A. Wenger emphasized the leading role of education, training, the determining value pedagogical activity in the development of artistic and creative abilities. The transformation of the imagination into a deliberate, purposeful one is the task of the teacher, and with a certain work with him, the preschooler develops a recreating imagination, the result of which is the creation of an image in accordance with the description, drawing, diagram, task. The image created by the child is always a personal formation, therefore even the most elementary cognitive act, leading to

to the creation of a subjective image, begins at the initiative of the subject, is determined by his internal attitudes and emotions, i.e. reflects his internal state (L.A. Wenger).

Tiheeva E.I. emphasizes that, by its nature, children's creativity is synthetic, often of an improvisational nature and makes it possible to judge individual manifestations quite fully and to identify them in a timely manner.

In the development of children's artistic creativity, N.A. Vetlugina distinguishes three stages. At the first stage, the role of the teacher is

in the organization of those life observations that influence children's creativity. If the child has to reflect life impressions

in a fairy tale, a story, then he must be taught a figurative vision of the environment,

i.e., a perception that has an aesthetic coloring. The figurative vision should be holistic: the child should consider the phenomenon not in isolation, but in its multilateral connections. This teaches him the ability to find a relationship between various objects and phenomena. Observations of children help the development of combinatorial abilities. It is important that they realize that some things can be changed

and converted.

Art plays a special role in the development of children's perception.

It helps the child to feel more beautiful in life, enriches the world of his spiritual experiences, and contributes to the emergence of artistic images. This stage precedes the creative activity itself, however, the development of perception, the accumulation of artistic and life experience are closely related to the subsequent artistic and creative activities of children.

The second stage is the actual process of children's creativity.

It is directly connected with the emergence of an idea, with the search for artistic means. The process of children's creativity is not very developed

in time. The creative act takes place "in one breath". The child gives a quick discharge to his feelings and, according to L.S. Vygotsky, "creates

in one go."

The role of the teacher is, according to a number of authors, to create a joyful atmosphere full of interesting, sometimes unexpected experiences, which is necessary for the successful implementation of creative activity by the child and ensuring the inner need for self-expression in creativity. It is important to ensure the variability of situations,

in which the child will have to act, as this activates his mental activity. For the formation of creativity, it is necessary to change conditions from time to time, to combine individual

And collective work. Particular attention should be paid to the development of the child's methods of sensory examination of objects. The wider will be the orientation of children in the most diverse properties of objects

and phenomena, the more vital and figurative their creativity will be.

In order for a child to naturally and freely express himself in creativity, he must master the simplest artistic means. The task of the teacher is to help him in this.

The third (final) stage is characterized by the creation of new products. At this stage, the child begins to be interested in the quality of the products of his creativity and experiences aesthetic pleasure, trying to complete them. But the experiences of preschoolers will be even more complete if he is convinced that his work is interesting not only to him, but also to those around him. Therefore, the analysis of children's products carried out by the teacher is so important.

M.V. Fadeeva offers a system that will help determine the level of creative abilities and methods for developing the creative abilities of children. As criteria for this level, she names such moments as the desire to choose one's own ideas or topics;

to expressing them by one's own means; to organizing in their own way. At the present stage, the search for the most effective ways and means of developing children's creativity is underway.

So, the analysis of the psychological and pedagogical literature on this issue showed that artistic creativity cannot be carried out without the participation of an adult who helps the child to create

and assumes the functions of a critic and partly a creator, i.e. functions that are inaccessible to a preschooler due to his age features

(N.A. Starodubova).

Education and training play a leading role in the development of artistic and creative abilities of children. An adult teaches a child special skills and abilities that are the basis for the development of creativity.

Due to the lack of or poor training, a "decline in creativity" occurs. Only with the right pedagogical guidance and training can high results be achieved.

The concept of "verbal creativity", according to T.N. Ushakova, can be applied to any case of creativity associated with the word.

At the same time, it refers to two, although related, but still fundamentally different areas: creativity in speech and creativity in language. Speech creativity leads to the creation of a new speech product, i.e. a new text, oral or written, of any volume, in any of its forms - prose, poetic, codified, free, monologue, dialogic, etc. Unlike speech, language creativity is associated with processes that lead to transformation in the language system itself - both in the individual and in the national language.

The study of the problem of the development of children's verbal creativity, due to the complexity and versatility of the nature of speech phenomena, is closely related to the provisions of psychology, linguistics, psycholinguistics and pedagogy.

Psychological aspect includes perceptual features literary work(L.M. Gurovich, A.V. Zaporozhets,

N.S. Karpinskaya, O.I. Nikiforova, S.L. Slavina, O.I. Soloviev,

E.A. Flerina, N.A. Tsivanyuk) and the activities of the imagination of children

(L.A. Wenger, L.S. Vygotsky, O.M. Dyachenko, S.L. Rubinstein,

MM. Rybakov) as the basis of speech creativity. The creation of a speech work occurs as a result of the processing of visual images - ideas obtained in the course of perception, and the translation of selected combinations into the language of verbal signs that adequately reflect the content of the images.

Within the framework of the linguistic approach, a connected statement (text) is considered as a product of speech activity, which has its own internal structure and categorical features

(SI. Gindin, I.R. Galperin, T.M. Dridze, L.A. Kiseleva, L.M. Loseva,

O.I. Moskalskaya, E.A. Referovskaya, G.Ya. Solganik).

In pedagogical research devoted to the problem of the formation of verbal creativity, it is proved that creative speech activity is successfully carried out in senior preschool age under the influence and as a result of special education, an important condition for which is the choice of means (L.M. Voroshnina, E.P. Korotkova,

ON THE. Orlanova, O.N. Somkova, E.I. Tiheeva, O.S. Ushakova, E.A. Flerina

and others).

Verbal creativity is a process associated with the overall development of the child. There is a direct relationship between the development of children's speech and their creativity. Creativity itself is inconceivable without mastering the child, the richness of the language in which he speaks and thinks. Of course, we understand this mastery in accordance with the characteristics of preschool age.

In domestic pedagogy, the problem of verbal creativity of preschoolers was considered in the works of E.I. Tiheeva, N.S. Karpinskaya, O.S. Ushakova and others.

In particular, in the study by O.S. Ushakova, the author shows how the development of poetic hearing affects the development of children's creative verbal activity, helping to educate children in a sense of their native word, susceptibility to fiction understanding of genre features. And, most importantly, poetic hearing helps children to transfer learned words and expressions into their compositions, helps to realize the connection between the content of a literary work and its artistic form, and more subtly feel the beauty of the artistic word.

What is verbal creativity. Modern problems of science and education

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32. The concept of verbal creativity.