It is at the age of 4-5 that it is determined who will be a reader in the future and who will not. At this age, it is especially important to introduce the child to the golden fund of the children's book. The collections "Russian fairy tales", "Once upon a time" were recognized as the best publications.

Of the poetic works for children 4-5 years old, it is advisable to purchase, first of all, the works of the classics of children's literature. Among them are works by A. Pushkin, N. Nekrasov, A. Blok, K. Chukovsky, S. Marshak, V. Berestov, I. Tokmakova. Poems and stories by E. Uspensky, S. Kozlov, A. Barto, E. Blaginina are very popular with children.
Among the stories and fairy tales of Russian writers, the leading publications are the works of K. Ushinsky (stories and fairy tales "For Children") and L. Tolstoy ("For Children" and "ABC"). The stories of N. Nosov "Live hat", "Bobik visiting Barbos" are very loved by children of 4-5 years old.

Children of this age can handle G. Andersen's fairy tales "Thumbelina", "The Steadfast Tin Soldier", brother Grimm "The Bremen Town Musicians".
More than one generation of 4-5 year old children grew up on the picture book "Pif's Adventure", on Kipling's fairy tale "Elephant".
Among the best books on wildlife should be called "Big and Small" by E. Charushin, many editions of works by V. Bianchi and V. Sladkov.

As for the selection of children's books for senior preschool age, that is, for children of 6-7 years old, a large place is occupied by scientific, artistic and popular science literature, books of an encyclopedic nature, photo books in various fields of knowledge.
If we talk about editions of folklore, they were enriched with collections of riddles and proverbs. These include a collection of riddles "Smart Ivan, the Firebird and the Golden Grain." As for the collections of fairy tales, among many others, one can single out the colorful translated book "Treasures of Fairy Tales" and the collection "The Golden Book of the Best Tales of the World".
Of the poetic works in the home library for preschoolers, one should first of all have the works of classical poets - A. Pushkin, V. Zhukovsky, F. Tyutchev, A. Maikov, I. Bunin, A. K. Tolstoy, S. Yesenin. It is recommended to introduce "Fables" by I. Krylov into the reading circle of children 6-7 years old, many of which will be studied at school. The essence of preliminary reading is not to understand the morality of the fables (this will come later), but to touch the model of native figurative speech.
Next to the poetic heritage of K. Chukovsky, S. Marshak, B. Zakhoder, S. Mikhalkov, V. Mayakovsky, A. Barto, collections of poems by S. Cherny, D. Kharms, T. Sobakiya, M. Boroditskaya should be on the bookshelf of preschoolers , R. Makhotina, M. Yasnova it is very important that the child gets to know them even before school.
Many collections of stories and fairy tales by writers from different countries have been published for preschoolers. To the fairy tales and stories of Russian writers of the 19th century, already recommended for reading by children 4-5 years old, S. Aksakov's fairy tale "The Scarlet Flower", "Alyonushka's Tales" by D. Mamin-Sibiryak, "The Traveling Frog" by Garshin, "The Town in a Snuffbox" are added " V. Odoevsky. From the stories we can recommend "Theme and the Bug" by N. Garin-Mikhailovsky, "Jump" by L. Tolstoy, "White Poodle" by A. Kuprin, "Kashtanka" by A. Chekhov. Of the writers of the 20th century, special attention of parents should be paid to P. Bazhov ("Silver Hoof"), B. Zhitkov ("Stories about animals"), A. Tolstoy ("The Golden Key or the Adventures of Pinocchio"), M. Zoshchenko (" Selected stories for children"), K. Chukovsky "Doctor Aibolit". A kind of bestseller of children's reading is A. Volkov's book "The Wizard of the Emerald City" - a free retelling of the book by American writer Frank Baum "The Wizard of Oz".
Of the writers of the second half of the 20th century, V. Dragunsky with his "Deniskin stories", V. Golyavkin with his "Notebooks in the rain", N. Nosov with the famous "Adventures of Dunno and his friends", E. Uspensky with "Crocodile Gena" and "Uncle Fedor", T. Aleksandrova with "Kuzka". In addition, the "classics" of children's reading include the works of other writers, among which one cannot fail to name Sergei Kozlov and his book "The Hedgehog in the Fog". For preschoolers, the writer G. Tsiferov and his book "The Story of a Piglet" are interesting.
As for the fairy tales of foreign writers of the 19th century, children are mainly recommended fairy tales by E. T. A. Hoffmann ("The Nutcracker and the Mouse King"), V. Gauf ("Little Muck", "Dwarf Nose"), D. Harris Uncle Remus"), C. Collodi ("The Adventures of Pinocchio"). Of the writers of the 20th century, I would like to mention R. Kipling with his fairy tales. A real gift for children will also be a voluminous book by A. Milne "Winnie the Pooh and Everything-Everything-Everything and much more."

More than one generation of preschoolers grew up on D. Rodari's book "The Adventures of Chippolino". One of the most famous works of Astrid Lindgren "Three stories about the Kid and Carlson" is already available to children aged 6-7. It is impossible not to say about one more book - the book of the Austrian writer F. Selten "Bambi". A special place in the life of people of different generations is occupied by the fairy tale of M. Maeterlinck "The Blue Bird". After reading it at least once, parents will certainly want to have a book in the house in order to bring to their child the same joy that they themselves experienced when reading it as a child.
As noted above, for children 6-7 years old, the range of publications of educational books is significantly expanding, in particular, about the world around them. I. Akimushkin, V. Biapki, M. Prishvin, N. Sladkov, E. Charushin, I. Sokolov-Mikitov, and others, who managed to reveal to the child the life of forests, seas, rivers, sky and earth, animals and insects, they have become a kind of encyclopedia that introduces the child to different areas of knowledge

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The period of formation of children is up to 10 years. It is very important to take books for children under 7 seriously in an adult way. It is very important to make these books qualitatively, both internally and externally. (Kipling: "Tell me what your child read before age 7, and I'll tell you how his life will turn out"). The great humanistic task of such literature is to educate its reader. The tasks of education:

• educate thinking
• Form interests
• Cultivate moral qualities
• Set ethical guidelines
• Educate aesthetically
• Contribute to the transfer of cultural traditions and social experience
• Develop speech

The circle of children's reading includes two large masses of publications:

Children's literature is a work of literature that is written specifically for readers - children of a certain group. Takes into account the interest of children, their needs, especially the psyche and thinking. The authors (Lindgren, Sladkov, Uspensky, Kaverin, Dragunsky, and others) understand what is interesting for children of one age or another, and will keep in their souls a child's perception of the world. They do not descend to the worldview of children, but help children to perceive the world.

Works from the category of literature for adults - literature that is adapted for children. They are selected on any basis - genre, hero, stories about animals. Most often it is literature for senior and secondary schools. The editor must imagine what the children will be interested in at a certain stage.

Chekhov "Kashtanka". Doggy story for kids. The topics covered are for adults. Chekhov believed that there is no separate literature for children. Defoe - they cut out that the main character was engaged in the slave trade. Gulliver - an unusual life, unusual adventures.

The editor sets as his goal precisely through the formation of interests and belonging to a certain social address the formation of a circle of children's reading. All psychologists say that the formation of a child's base, moral qualities and interests occurs at preschool and primary school age.

If the work is redone for children, then it can be for different ages. If it was originally written for children, then it should be focused on a clear reader's address.

The starting point can be the age of the protagonist. Age is important - in order to interest the child, children must understand and be interested in the problems of the work.

When preparing publications for children, not only children's, but also "adult" literature is used. Therefore, in publishing and editing, several concepts are used that characterize the field of publishing literature for children and youth.

There are such concepts as "children's literature", "literature for children", "children's reading circle". Already from the names themselves it is clear that they intersect with each other and at the same time have an independent content.

Understanding the meaning that is invested in each of these terms is important, first of all, from the point of view of a general approach to book publishing, since they determine the organization and method of forming the repertoire of publications, the sources of selection of works, and the features of the work of an editor with authors.

Consider the concept of "children's literature"; it is precisely this that is the starting point for characterizing the entire field of publications for children.

Children's literature is created specifically for the children's readership. The writer takes into account the specifics of children's perception, trying to ensure that his work is well understood and assimilated by readers of a certain age.

Of particular importance is the author's ability to recognize child psychology, focus on the interests, predilections of children, their ability to perceive certain facts. They say that in order to create a work of children's literature, it is necessary to preserve the "children's vision of the world", which allows one to clearly imagine the properties and qualities of children's perception. A children's writer must understand and know the child and, of course, have a special talent that determines the author's skill - the talent to create vivid, unforgettable pictures of the world around him, recognizable by the child and instructing him.

When creating a work of children's literature itself, the specifics of a certain age are taken into account. Obviously, a writer turning to children's literature should be distinguished by a special attitude to life, imagine how the surrounding reality is perceived by the child, note the unusual, bright - what is interesting to his future readers.

Certain methods have been developed for writing a work of literature especially for children. Here is just one fairly common technique associated with the special position of the author of the work - he looks at the world around him as if from childhood, which he describes. The writer does not observe his characters from the side, but considers events through their eyes. This is how the narrative develops in the stories "Childhood" by L. Tolstoy and "Childhood" by M. Gorky, "The Blue Cup" by A. Gaidar. The writer reincarnates in his characters, not allowing himself to step back for a minute and look at them through the eyes of an adult. Apparently, it is the view of the world from childhood that imparts to the content of these stories one of the most essential qualities for works of children's literature - the quality of the reliability of what is described, the comprehensibility for the reader.

Thus, children's literature is specially created for a certain age category of readers, taking into account the specifics of children's perception.

One of the important tasks of the editor is to create an asset of children's writers. Meanwhile, it can be difficult to find these writers, because children's writers are writers with a special gift - to remember and understand childhood. V.G. Belinsky wrote: “One should be born and not become a children's writer. It's kind of a calling. It requires not only talent, but a kind of genius ... many conditions are needed for the education of a children's writer ... Love for children, a deep knowledge of the needs, characteristics and shades of childhood is one of the important conditions.

Consider a broader concept - "literature for children." This concept denotes both children's literature and adult literature, which is of interest to children and understandable to them.

It is known that many writers whose works are readily read by children did not write specifically for children. The writer N. Teleshov recalled: “Chekhov assured ... that there was no “children's” literature. “Everywhere they write only about Sharikov and Barbosov. What is this "baby"? This is some kind of "dog literature".

Thus, the reading of children covers not only specially written works, but is also replenished at the expense of adult literature. This is how the repertoire of publications for children is formed. It consists of children's literature and works written for adults, but of interest to children.

From children's literature and literature for children, the so-called circle of children's reading is compiled. The Encyclopedic Dictionary "Knigovedenie" defines the circle of reading as follows: "A set of printed works, reflecting the main interests and reading needs of a certain reader group. The circle of reading is socially and historically conditioned. Revealing the range of reading is one of the main tasks of specific sociological research in the field of reading.

With regard to children's reading, the circle of reading has its own characteristics. Let's dwell on them.

The Children's Reading Circle includes books that should be read in childhood and that define the reading of a child of a particular age. This is a dynamic phenomenon, since as the child grows, the scope of the literature that he reads expands. The reading circle shows the interests and passions of a person, individual publications “return” if the reader refers to them more than once. The composition of publications is constantly changing depending on the change in the interests of children and the repertoire of published publications, and the richer, more diverse the repertoire, the more opportunities to influence the child, since his reading circle will to some extent reflect this richness and diversity.

The formation of a circle of children's reading is associated with the solution of educational problems. That literature, which is specially written for children, determines in many respects the appearance, character, and behavior of children. In addition, it is a source of cultural traditions, conveys a certain experience to readers. It is no coincidence that V.G. Belinsky paid special attention to determining the circle of children's reading. Reflecting on its composition, the critic first of all pointed out the connection of the book with life, artistry, "profoundness" and humanity of the idea, chastity of content, simplicity and nationality. Among the works that should be included in the circle of children's reading, he named poems and fairy tales by A.S. Pushkin, a novel about the adventures of Robinson Crusoe by D. Defoe.

Children's literature forms and defines the reading circle of each child, changing and structuring its composition, and this literature is gradually being replaced by "adult" literature, leaving children's literature itself outside the reader's interests. Given that certain books can most effectively affect the reader for whom they are intended, it can be considered that literature included in the circle of children's reading should be read at the appropriate age; books that did not “catch” the reader in time cannot have the influence on him that the author sought, and, therefore, their social functions do not fully fulfill. Indeed, the impact on a preschooler, an older schoolchild, an adult of a fairy tale, for example, "Little Red Riding Hood", is different, since at each age "their own" aspects of the work are of interest. Consequently, the circle of reading determines the degree and nature of the influence on the reader of the content of the work and is associated with the characteristics of the properties of various categories of readers.

When organizing book publishing for children, especially in the process of forming a repertoire, the editor focuses on the circle of children's reading, selecting works for reprinting and including new literature in the publishing system.

LECTURES ON CHILDREN'S LITERATURE

SECTION 1. LITERATURE AS A BASIS FOR SPIRITUAL AND MORAL DEVELOPMENT OF A PERSON.

TOPICS 1.1. - 1.2. SPECIFICITY OF CHILDREN'S LITERATURE: ARTISTIC AND PEDAGOGICAL COMPONENTS. READING CIRCLE OF PRESCHOOL CHILDREN.

Literature is an indispensable means of aesthetic education of a preschool child. Children's literature is a complex of works created specifically for children, taking into account the psychophysiological characteristics of their development. There is an opinion among readers that children's literature is those works that a person reads three times in his life: as a child, becoming a parent and acquiring the status of a grandmother or grandfather.

Through children's literature, the emotional preschooler is carried out, the development of all his cognitive processes and abilities. Against the background of the ever-increasing influence of television and computer technologies on a small person, the importance of literature and children's reading is growing. The aesthetic education of a child by means of literature involves the development of his artistic needs, emotions and feelings. It is during the preschool period that the child develops the prerequisites for the development of literary and artistic abilities.

In the perception of the world by a preschooler, his characteristic tendency is manifested to enliven the environment, to give character, desires even to inanimate objects. That is why he is so fascinated by the world of art. For a preschooler who has just begun to discover the world of a work of art, everything in it is new and unusual. He is a pioneer, and his perception is bright and emotional. The feeling of a pioneer, which is very important for creativity, is also manifested in the assimilation and use of artistic speech forms: verse (sound, rhythm, rhyme); lyrical-epic forms; prose, etc.

Introducing the child to the best examples of children's literature contributes to the comprehensive and harmonious development of the individual. The educator plays the leading role in introducing the child to literature in the conditions of preschool education. Therefore, knowledge of children's literature is necessary for future teachers.

One of the features of children's literature is the unity of literary and pedagogical principles. Both writers and researchers, speaking about the pedagogical, didactic essence of children's literature, pointed to the specifics of the text of a children's work, where there is a constant interchange of aesthetics and didactics.

The ability to correctly form a circle of children's reading (KCH) is the basis of the professional activity of a speech therapist. The CDN depends on the age of the reader, his passions and preferences, on the state and level of development of the literature itself, on the state of the collections of public and family libraries. Psychological, pedagogical, literary, historical and literary approaches or principles are the starting points for the formation of the KCH.

As you know, fiction plays a huge role in the upbringing and education of children. M. Gorky also noted the role of art in shaping a person’s attitude to various phenomena of reality: “All art, consciously or unconsciously, aims to awaken certain feelings in a person, to cultivate in him this or that attitude to a given phenomenon of life.”

B.M. Teplov reveals the psychological essence of the educational impact of art (including fiction) as follows: “The educational value of works of art lies in the fact that they make it possible to enter “inside life”, to experience a piece of life reflected in the light of a certain worldview . And the most important thing is that in the process of this experience certain attitudes and moral assessments are created, which have an incomparably greater coercive force than assessments that are simply communicated or assimilated.

This significance of art is especially great in the formation of feelings and relationships in children. But in order for a work of art to fulfill its educational role, it must be appropriately perceived. Therefore, the study of the problem of perception of literary works is of undoubted interest.

There are a number of studies on this problem in the Russian psychological literature. Valuable material is contained in the works of O.I. Nikiforova, in which general questions of the psychology of perception of works of fiction are considered. The analysis of the understanding of the psychology of a literary character by children of different ages is the subject of research by T.V. Rubtsova, B.D. Praisman and O.E. Svertyuk. In the study by L.S. Slavina, E.A. Bondarenko, M.S. Klevchenya, the question of the influence of the characteristics of children of the corresponding age on their attitude to literary characters is considered.

A review of these and other psychological studies that examine the psychology of the perception of fiction by children of different ages shows that the subject of study was mainly questions of children's understanding of a literary work and its characters. However, the perception of a work of art in its essence is not a purely cognitive act. A full perception of a work of art is not limited to understanding it. It is a complex process, which certainly includes the emergence of one or another relationship, both to the work itself and to the reality that is depicted in it.

Let us consider in more detail the process of perception of fiction. The perception of fiction is the result of a psychological mechanism based on physiological processes. The perception of fiction is holistic and at the same time extremely difficult. Usually it proceeds directly, and only in difficult cases does one or another operation of the imagination or mental action become conscious. Therefore, this process seems to us simple. It distinguishes the following aspects: direct perception of the work (recreation of its images and their experience), understanding of the ideological content, aesthetic evaluation and the influence of literature on people as a consequence of the perception of works.

All these aspects are interconnected, but at the same time their mechanisms differ from each other. Thus, the understanding of the ideological content depends on the reconstruction of the images of the work, but the mechanisms of these processes are opposite. The whole process of perception of literary works at all its stages is of an aesthetic, evaluative nature, but the evaluative evaluation mechanism has specific features. The influence of fiction on people is the result of all the mentioned processes, but, in addition, it is determined by other factors as well.

There are three stages in the process of perception of fiction:

1) direct perception, i.e. recreating the experience of the images of the work. At this stage, the leading process is the imagination. With direct perception when reading a work, thought processes take place, but they must be subordinated to the reconstruction of images and not suppress the emotionality of the perception of the work. The fact is that the words of the text have a conceptual meaning and figurative content.

When reading, listening to a work, certain images, especially when reading intermittently, usually cause certain thoughts in the child - such thoughts are natural and do not kill the emotionality of perception.

2) understanding the ideological content of the work. A complete understanding of the idea is possible only when reading the entire work as a whole. At this stage, when perceiving a work, thinking becomes the leading one, but since it operates with what was emotionally experienced, it does not kill the emotionality of perception, but deepens it.

3) the influence of fiction on the child's personality as a result of the perception of works.

The process of cognition, whether it goes “from living contemplation to abstract thinking and from it to practice” or “by ascending from the abstract to the concrete”, is impossible without representations, which are an intermediate stage of cognition, a link in the dialectical transition from the sensory level to the rational and vice versa .

Any concept as an element of thinking is formed on the basis of ideas. The formation of ideas about the surrounding reality precedes the formation of a worldview. Answering questions, we are based on more or less realistic ideas and images about the object or phenomenon being studied. Therefore, we can say that representations are the basis of all meaning. Representations are among secondary images that, unlike the primary ones (sensation and perception), arise in the mind in the absence of direct stimuli, which brings them closer to the images of memory, imagination and visual-figurative thinking.

Usually under performance understand the mental process of reflecting objects and phenomena of the surrounding reality in the form of generalized visual images, and under imagination- a mental process that consists in creating new images by processing the material of perceptions and ideas obtained in previous experience.

The product of the view is representation image, or a secondary sensually visual image of objects and phenomena, stored and reproduced in the mind without a direct impact of the objects themselves on the senses. Representations are in a complex relationship with other mental processes. Representation is related to sensation and perception by the figurative, visual form of their existence. But sensation and perception always precede representation, which cannot arise from scratch. Representation is precisely the result of a generalization of a number of essential features of an object.

Views often act as references. This circumstance brings them closer to the processes of identification. Identification implies the presence of at least two objects - real, perceived and reference. There is no such duality in representations. Representations are often called memory images, because in both cases there is a reproduction of a person's past experience. Both are secondary images that arise without reliance on direct perception. But the view lacks the processes of remembering and saving. In the process of remembering, a person is always aware of the connection with the past, while in the representation, in addition to the past, the present and the future can be reflected.

Imagination images are very close to representations. Imagination, like representation, uses material previously received by perception and stored by memory. Imagination is a creative process that develops over time, in which you can often trace the storyline. In representation, the object is more static: it is either motionless, or a limited number of manipulative operations are performed with it. Representation acts as a mechanism for recreating the imagination. But besides it, there are also various forms of creative imagination that are not reducible to representation.

The degree of control of a person's side over the images of his imagination varies greatly. Therefore, distinguish between imagination arbitrary and involuntary. According to the methods of creating images, there are also recreating and creative imagination.

The content of the direct perception of a literary work, in addition to representation, includes emotional and aesthetic experiences, as well as thoughts that arise about the perceived. The perception of fiction at all stages of reading a work is always holistic, despite the fact that the work itself is divided into elements arranged sequentially in time.

Another essential feature of the perception of fiction is the emotional-volitional experiences of children. There are three main types:

1) internal volitional actions and experiences for the heroes of a literary work. As a result of such assistance and empathy with the hero, the child comprehends the inner world of the hero of the work. Here, emotional-volitional processes are a means of emotional cognition of literary characters.

2) personal emotional-volitional reactions. They contain an element of direct aesthetic evaluation.

3) experiences and reactions that are caused by perception through the work by the personality of the author. The idea of ​​a writer gives rise to a certain emotionally active attitude towards him.

The first type is objective, while the second and third are more subjective. All three types of emotional-volitional experiences coexist in the perception of the work and are interconnected. The mechanism of direct perception is very complex and consists of two parts: the mechanism of creative and emotional-volitional activity and the mechanism of figurative analysis of a literary text. They are internally linked.

The imagination does not immediately, not from the very beginning of reading the work, becomes creatively active and emotional. At first it works passively, then there comes a sharp change in the nature of its work. In this regard, the perception of the work also changes qualitatively. The moment of such a sharp turning point in the perception of the work and in the work of the imagination Binet aptly called entry into the text of the work.

The period of getting a person into the text of a work can be more or less long. It depends, first of all, on the features of the construction of the exposition. The duration of the entry also depends on the readers themselves, on the degree of liveliness and development of their imagination. At the beginning of the work and in its title, readers and viewers find landmarks that “guide” the creative activity of the imagination. O.I. Nikiforova identifies the following landmarks:

1. Orientation in the genre and general nature of the work.

2. Orientation in place and time of action.

3. Orientation in the main characters of the work.

4. Orientation in the emotional attitude of the author to the main characters of the work.

5. Orientation in the action of the work.

6. Orientation in the volume of the work.

7. Orientation in the figurative core of the work.

The mechanism of creative activity is formed by itself and very early, already at a young age, because. it is nothing more than a mechanism for understanding the purposeful behavior of people and their relationships transferred from ordinary life to the perception of literature. Figurative generalizations are formed in people in the process of their life and reading fiction. The mechanism of the figurative analysis of a literary text does not form by itself in the process of life, it must be specially formed, and this requires certain efforts on the part of children.

The usefulness, artistry of perception of literature depends, in addition to the artistic merits of works, on the reader's ability to make a figurative analysis of a literary text. At the stage of direct perception of fiction, the main one is the analysis aimed at extracting the figurative content of works from the text.

Figurative analysis is the basis of a full-fledged artistic perception of literature. From the point of view of perception, the text of a literary work consists of figurative artistic sentences. The sentences are organized into relatively integral, large elements of the work: a description of events, actions, appearance, etc. All major elements are in a certain relationship to each other and are synthesized into a single literary work.

The complex, multifaceted structure of a literary work also determines a multi-layered analysis of the text:

1) analysis of figurative sentences;

2) analysis of large elements in a literary text;

3) analysis of the methods of depicting literary characters.

Let's look at what the analysis of figurative sentences means. Understanding of individual words occurs instantly, while representations associated with words arise only if attention is paid to them after the meanings of words are realized. To understand colloquial speech, non-fiction texts, it is enough to analyze the meanings of words and their correlation, while representations associated with words are usually not needed. Therefore, people develop an attitude towards the conceptual perception of speech.

The analysis of large elements in a literary text occurs according to a double grammatical scheme. The course of the figurative analysis of sentences is determined by the contextual subject. The figurative details extracted from reading a large element are synthesized by readers into a whole complex representation based on their organization in space and time. The integrity and stability of ideas about the complex images of a literary text is ensured by internal speech articulation.

The analysis of a literary text according to a grammatical scheme with an orientation towards images evokes figurative processes in readers, regulates them, and as a result, they get an idea of ​​the images of the text. The material for recreating the images of the text is past visual experience.

There is a feature of the activity of the recreating imagination when reading, perceiving a literary text:

That which flows below the threshold of consciousness on a purely physiological level;

It is impossible to say how the performances turned out, therefore, one gets the impression of a complete immediacy of the perception of fiction.

This immediacy of perception of fiction is not innate, but developed, mediated by the acquisition of skills in the figurative analysis of a literary text and the formation of an attitude towards figurative processes. An analysis of the methods of depicting literary characters is the selection of characters from the text, attributing descriptions to a literary character and extracting from them everything that, one way or another, characterizes a particular character.

When reading a work, the selection of a literary character always occurs by itself, but the selection of image techniques and their assignment to a literary character presents certain difficulties, and the degree of this difficulty depends on the characteristics of the techniques.

The purpose of figurative analysis is to evoke and regulate figurative processes of imagination in readers.

Consider the conditions for understanding literary works:

1. Full direct perception of the work. Proper reconstruction of images and their experience.

2. The essence of the artistic idea.

3. Setting to understand the idea and the need to think about the work.

Young children under no circumstances perceive the idea of ​​a work, even if, as happens in fables, it is directly formulated in the text. For children, a work is a special reality, interesting in itself, and not a generalization of reality. They are affected by the emotional and aesthetic basis of the idea of ​​the work, they are “infected” with the emotional attitude of the author to the characters, but do not generalize this attitude. They discuss only the actions of the heroes, and precisely as the actions of these heroes, and nothing more.

To work on the ideological content, it is necessary to choose works that can have a personal meaning for children, and that when working on these works it is especially important to reveal to them the personal meaning of the idea and the meaning of the works.

Aesthetic evaluation is a direct emotional experience of the aesthetic value of a perceived object and is a judgment of its aesthetic value based on aesthetic emotion. The objective side of emotion is a reflection of the perceived object in a peculiar form of experience.

Criteria determining aesthetic evaluations:

1. Imagery criterion.

2. The criterion for the veracity of the images of the work.

3. The criterion of emotionality.

4. The criterion of novelty and originality.

5. The criterion of expressiveness.

The ability to experience aesthetic pleasure from truly artistic works and legitimately evaluate their artistic merit depends, first of all, on mastering the figurative analysis of a literary text.

The main way to master the analysis of the features of works of art is an exercise in a detailed comparison of works that are the same or close in theme, differing in form, in the interpretation of the theme. The impact of a literary work does not end with the end of reading. Influence is the result of interaction. The same work can have different effects on different people.

The influence of fiction on people is determined by its peculiarity - by the fact that it is a generalized image of life. The images of the work reflect reality, as well as the experience of the writer, his worldview, and the artistic images of readers are recreated on the basis of their own experiences.

Consider three types of readers' attitudes towards fiction:

1. Identification of literature with reality itself. The impact of fiction on children.

2. Understanding fiction as fiction.

3. Attitude towards fiction as a generalized depiction of reality. This is one of the essential conditions necessary for the transition of superficial feelings to deeper ones and influence people.

There are no children who do not like being read to. But sometimes some children, having learned to read, continue to communicate with the book in this way, while others do not. How can you help your child love books? What can be done to make reading a necessity for him, a pleasure? The answer is unequivocal: the future reader needs to be educated when he is just starting to walk, when he gets to know the world, when he experiences his first surprise from contact with others. Conventionally, in the process of becoming a reader, the following types of reading can be distinguished: indirect (reading aloud to a child), independent (reading by a child without the help of an adult) and reading-creativity (reading constructed as a process of creative development of a perceived work). But it is not necessary to consider the types of reading we have identified as stages in the development of the reader, they do not follow each other in a strict temporal sequence, but, gradually arising in the life of the child, they seem to complement each other, becoming pages of his reader's biography.

The first type of reading that a child gets acquainted with is mediated reading. But this type of reading does not lose its significance even when the child begins to read on his own, and when he has already learned to read quite fluently. Therefore, it is important to read books to a child who is already familiar with the alphabet, and who is just establishing his own relationship with the book.
The leading role belongs to the reader, that is, an adult, and the child acts as a listener. This makes it possible for an adult to control the reading process: keep the rhythm, vary the text (for example, insert the name of a child in poems about children), making it more accessible and understandable; read clearly and expressively; monitor the child's reaction. Reading aloud to a child is not an easy task. You can’t monotonously pronounce the text, you need to beat it, take your time, create images of the heroes of the work with your voice.
Reading aloud is somewhat different from independent adult reading - a delightful journey into the land of literary images, taking place in peace and quiet, requiring solitude and complete immersion in the world of fantasy. The child does not sit still for a minute, he constantly asks some questions, is quickly distracted. An adult needs to be ready to respond to questions, comments that suddenly arise in the course of the text, as well as such manifestations of their attitude to what they read as crying, laughter, protest against the course of events set out in the text. Such reading is, first of all, communication (and only adults need to be reminded of this: for children, this is already an indisputable truth). This is your conversation with the child, this is a dialogue with the author of the work. And therefore, you should not refuse to read aloud together, even when the child has learned to read on his own: you need to continue to read, read in turn, listen carefully as he reads, involve other family members in reading aloud.

Reading aloud is the most important means of building relationships between a child and an adult, but it becomes such only when a number of conditions are met. First, it is necessary not only to reproduce the text, i.e. pronounce it out loud, but also try to comprehend it, understand it. Moreover, for an adult, this task is divided into two parts: he finds something of his own in the read text, interprets it from the height of his own life experience, and at the same time tries to create a situation of understanding or an emotional response for the child listening to him. G.-H. Andersen wrote about this phenomenon of the perception of children's literature by adults: "... I definitely decided to write fairy tales! Now I tell from my head, I grab an idea for adults - and I tell for children, remembering that sometimes father and mother also listen and they need to be given food for thought!" The joint perception of a work of fiction, its comprehension must inevitably result in a discussion of what has been read: reading a fairy tale prompts us to reason about good and evil, acquaintance with poetic works makes us think about the unlimited possibilities of language in conveying a variety of meanings and emotions. It is also important how the range of literature for mediated reading will develop: what books we select for children, how diverse they are in subject matter, design, genre or mood. We cannot allow books to be perceived only as entertainment or only as education. The world of fiction is very rich and multicolored, it has a place for both serious conversation and a fun game.

The next type of reading is independent. Actually, reading will not become independent soon, and at first much depends on the adult: on his ability to harmoniously combine attention and interest in the child’s first reading experiences with the former habitual mediated reading aloud. The child himself determines how much his mother (father, grandmother, older sister or brother) reads to him, and how much he reads. The first attempts at reading should be accompanied by the gradual formation of the skill of writing letters, their drawing. For the young reader, it is still more important to get acquainted with the letters, his own reading is largely mechanical in nature: he is more interested in the purely technical side of the matter - how words are made from letters. Therefore, the expressive side of reading fiction (the ability to understand the text, pay attention to its artistic features) will remain the responsibility of an adult for a long time to come. Another important aspect of the formation of independent reading is the determination of the reading circle of a child who begins to read. When an adult reads a book, the questions that arise in the child during the reading are resolved immediately due to the presence of an adult who can answer them or explain something incomprehensible. How to choose books that will be interesting and understandable for a 4-5-6-year-old child? First, the child will re-read the books already known to him, children very often re-read familiar books, just leafing through them. The child does not stop in development, he simply, in this way, relieves stress by communicating with old friends. During the period of formation of a child's independent reading, it is very important to create additional conditions for his speech development, since his speech, which was recently only oral, has now acquired another form of existence - written. A variety of publications containing various puzzles, word puzzles and games can help with this.

The last type of reading that we have identified will be creative reading, which is the main means of developing a child: developing his speech, imagination, and ability to perceive fiction. It is not enough to read books to a child or create conditions for the formation of a circle of his independent reading. It is important to prepare the child for a meeting with the world of fiction - the world of fiction, fantasy, embodied in verbal images. How to make the frozen sounds of the poem come to life in front of the child? There is only one answer: you need to teach him the creativity of the reader. It is necessary to begin the development of such creative abilities from the period of mediated reading and not to stop these exercises even during the formation of independent reading. But reader creativity is formed not only while reading books. A rich imagination is “gathered” gradually from a variety of impressions that a small person has from walking in the forest, from visiting a theater or an exhibition, playing outdoors and at home, observing animals, communicating with others, experiences.

The writer creates the world with the power of imagination, counting on the further co-creation of his reader. The world of a small child is like such a world of fantasy, a fairy tale - you just need to try to see and hear it: to see how two trees stand side by side "whisper", how a saucepan looks like an astronaut's helmet, hear a story told by an old suitcase, or a song of a stream. The creativity inspired by reading can be anything.

L. Tokmakova has wonderful words: “A children's book, for all its outward rusticity, is an exceptionally subtle and not superficial thing. Only the brilliant eye of a child, only the wise patience of an adult can reach its heights. Amazing art - a children's book! The craving for a book, as we said above, appears in children, as a rule, in early childhood. Interest in the book arises because it gives the child the opportunity to act, it gives pleasure both when looking at it, and when turning over, and when listening.

In addition, the book satisfies two needs that simultaneously exist in the child: for the unchanging, stable and for the new, unfamiliar. The book is a constant. The child is a variable. The kid picks up a book at any time - but it is still the same. There is self-examination, self-validation. Children, on the other hand, change not only annually, but also hourly - different moods and states, and now the “constant value” is revealed to them in a new way. The joy of discovery! But each child has his favorite places in the book, which he always wants to listen to, watch.

The book is also an opportunity to communicate with adults. Through their speech, intonation, the plot, characters, moods are perceived. You can worry together, have fun and be reliably protected from evil and terrible. As the child grows up, the ways of working with the book change, certain skills are acquired: looking, listening, flipping, “reading”, reproducing previously heard text in accordance with the illustration. All this adds up to a "piggy bank" for the future reader. But in order for a reader to appear capable of co-creation with a writer and illustrator, the help of an adult is needed.

In a correctional institution, the teaching of literature is of particular importance. The analysis of works of art develops a coherent monologue speech of children, develops intonation, contributes to the development of the pronunciation side of speech, etc.

At all times of the existence of mankind, people have shown special attention to works for children, considering them the most important in the formation of a person in a child.

Questions about the circle of children's reading were raised in Russia in the 18th century, and in the works of N. Chernyshevsky, V. Belinsky, N. Dobrolyubov, L. Tolstoy in the 19th century.

But still, the acuteness of the issue remains in modern Russia of the 21st century.

A person dealing with children's reading needs to have versatile knowledge in the field of Russian folklore, and foreign creativity, writers of Russian and foreign children's literature. And also for the formation of a circle of children's reading, it is necessary to have excellent pedagogical and psychological preparation. It is important for him to follow the trends in the development of the children's literature market, children's book publishing, to read a lot and to believe that the literary word can influence and influence a person.

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Circle of children's reading.

At all times of the existence of mankind, people have shown special attention to works for children, considering them the most important in the formation of a person in a child.

Questions about the circle of children's reading were raised in Russia in the 18th century, and in the works of N. Chernyshevsky, V. Belinsky, N. Dobrolyubov, L. Tolstoy in the 19th century.

But still, the acuteness of the issue remains in modern Russia of the 21st century.

A person dealing with children's reading needs to have versatile knowledge in the field of Russian folklore, and foreign creativity, writers of Russian and foreign children's literature. And also for the formation of a circle of children's reading, it is necessary to have excellent pedagogical and psychological preparation. It is important for him to follow the trends in the development of the children's literature market, children's book publishing, to read a lot and to believe that the literary word can influence and influence a person.

So what is a children's reading circle? This is a circle of works that children listen to, read and perceive. They were written, passed from adults, were understood and accepted by children. The range of children's reading includes:

Folklore,

books for children,

Children's creativity,

Children's newspapers and magazines,

As you know, certain works correspond to each year of a child's life: nursery rhymes and four-line pestles at early preschool age, to fairy tale novels at senior preschool age.

This begs the question - what does the circle of children's reading depend on?:

From the age of the child, from his preferences. So, the youngest listeners prefer fairy tales, nursery rhymes, poems written by a certain author to a certain book.

From the development of literature itself. What can I say, the state of the level of development of children's literature at the end of the 20th century remained at a low level, poems for children were practically not published, there were very few historical and realistic works, which did not contribute to the education of a versatile reader.

From the selection of literature for children's reading. In the collections of urban and rural libraries, from books that are in families, the very time in which the child lives has a great influence.

The circle of children's reading cannot be the same for everyone, and should not be. After all, a child is able to choose a book for himself, even the smallest, according to an attractive cover, according to illustrations.

The educational program, which is carried out in a preschool institution, contains a specific list of recommended literature for reading to children, according to the age category.

Along with this, there is family, home reading. This is a variable part of reading, which depends on the knowledge of children's literature, taste, preferences, education of parents, and it plays a positive role in preserving the uniqueness of the child-listener, the child-reader.

In the circle of children's reading, there are a number of works that are mandatory, without which preschool childhood cannot be imagined. These are works that have been tested by many generations of readers, classic works:

Folk tales,

Works by K. Chukovsky, S. Marshak, A. Barto, N. Nosov,

Fairy tales by Ch.Perro, H.Andersen, A.Lindgrend.

V. G. Belinsky, argued that children tend to have a special perception of what they heard, about the importance of the role of the book in the upbringing of the child. After all, a “wrong” book can lead to a distortion of moral ideas, destroy aesthetic feelings, and about its place in the world around.

Preschoolers perceive art out of context: it can animate inanimate objects, changes works of art at its discretion, making it a hero of themselves or their friends. A favorite book makes a strong impression on the child, and he uses the plot in his games, lives by them, and includes them in his real life.

Literature, as a form of art, helps in educating a competent listener and reader, but it should be remembered that it will be better perceived when a special emotional atmosphere is created, setting the child to read a book.

Children should be given time to read, and nothing should interfere or distract. Children need to be explained that they should not read while eating, in transport, on the go. Don't read the same book over and over. When reading, you should not rush, pronounce the sounds and letters clearly and clearly. Adults should remember that it is unacceptable to force a child to listen if he is tired, distracted, wants to change the type of his activity. Only an attentive caring attitude towards preschoolers, a careful choice for reading this or that work will lead to the desired result.

When choosing a circle of children's reading, special attention should be paid to:

accessibility,

visibility,

amusements,

The dynamism of the plot

The educational value of the work.

So what should be included in the circle of children's reading?

All types of literature:

Prose (epos), poetry (lyrics), drama, fiction;

Folklore genres - folk tales, lullabies, pestles, nursery rhymes, incantations, sentences, fables-shifters, children's folk songs, horror stories;

Popular science genres (encyclopedias);

Works of literature of the peoples of the world.

The subject of the works should be as diverse as the reader requires:

Childhood;

Children's game, toys;

Nature, fauna;

Relationships between children and adults; family, duty to parents and relatives; internationalism; honor and duty to the Motherland;

War and heroism;

Historical periods;

Man and technology.

It is also important to take into account gender differences between children. Girls need to read books about women's virtues, about housekeeping, about women's destiny. Boys will be interested in literature about courage, about courage, about heroes, about travel, inventions, about people's behavior in difficult situations.

Children's literature is a valuable form of verbal art that plays an important role in the development and upbringing of a child. V. Lunin noted: “I must confess to you that I am writing not for you, but for myself!”.