Speech verbal pictures sounds. Reception of verbal drawing

In other art forms and its techniques

Implementation Method literary works

W a detailed analysis of a literary work is built on the laws of not only scientific, but also artistic creativity. Here we will talk about creative methods of translating a literary text into other types of art. These techniques allow you to express the position of the reader, form and develop the ability to figurative concretization and figurative generalization, and therefore they are relevant for elementary school.

Verbal drawing (oral and written) is a description of images or pictures that arose in the mind of the reader when reading a literary work. The word picture is also called verbal illustration.

This approach is aimed primarily on the development of the ability to concretize verbal images(imagination). In addition, the child's speech develops and logical thinking. In verbal drawing, the reader must, relying on the verbal images created by the writer, detail your own vision in the visual picture, which he reproduces, describes orally or in writing.

At the same time, there appear two dangers: you can stray on direct paraphrase the author's text, and if the involuntary imagination is too active "forget" about the author's picture and start describing your own.

This reception requires a number of steps: read, present, concretize, choose the exact words and expressions for description, logically build your statement. In addition, the technique involves a description in a static picture complex relationships heroes.

This approach directs children's attention to the text: they reread its individual fragments, since only semantic and pictorial stylistic details will help them clarify verbal images, clarify them, present what the author describes in detail. The student gradually "enters" the world of the work and begins see it through the eyes of the author or one of the characters(depending on from whose point of view the picture is being recreated), i.e. joins the action, which means that he will be able to supplement the author's picture with his own details. Then the result of the work, which is based on the analysis of the text, will not be a retelling and not a description torn off from the author's intention, but creative picture, adequate to the author's intention, but more detailed and necessarily emotional and evaluative.

Reception training leaks several stages .

1. Examination of graphic illustrations. First, the teacher organizes observation of how the illustrator conveys the author's intention, which helps the artist create a mood, express his attitude towards the characters. In the process of this work, children get acquainted with the concept of "composition of a picture", with the meaning of colors, color, line. This work can also be done in the classroom. visual arts, and in the classroom extracurricular reading.

2. Choice of multiple illustration options the most appropriate to the episode under consideration of the work with the motivation of his decision.

3. Collective illustration using ready-made figures consists in the arrangement of characters (the composition of the picture), the choice of their poses, facial expressions.

4. Self illustration favorite episode and oral description what he drew. This technique can be made more difficult by asking the children to describe the illustrations made by their classmates.

5. Analysis of illustrations made with a clear deviation from the text of the work. Children are offered illustrations in which the arrangement of characters or other images of the work is violated, some of the author's details are missing or they are replaced by others, the color is broken, the postures and facial expressions of the characters are distorted, etc. After examining the children, they compare their perception of the text with the perception of the illustration.

6. Collective oral drawing illustrations- genre scenes. At this stage, children choose color scheme illustrations.

7. Independent graphic drawing of a landscape and his oral description or the description of the landscape by the artist.

8. Verbal Oral drawing of a landscape from detail text.

9. Collective oral detailed description hero in a particular episode(how you see the hero: what is happening or happened, the mood of the hero, his feelings, posture, hair, facial expression (eyes, lips), clothes, if it is important, etc.) The teacher helps the children create a description with questions.

10. Collective and independent verbal verbal drawing of the hero first in one specific situation, and later - in different.

11. Independent verbal oral illustration and comparison of the created oral illustration with graphic.

Naturally, it is possible to master the technique of verbal drawing only after mastering elementary skills analyze illustrations for the work. However, as propaedeutics, already at the very first stages of studying literary works, it is advisable to offer children such questions as: How do you imagine a hero ?», « How do you see the setting of the action?”, “What do you see when you read this text? " And so on.

Examples of organizing oral verbal drawing in the classroom:

A fragment of a lesson in the 1st grade on a fairy tale « Ax porridge »

The stage of rereading the text and its analysis

- Let's read the story to the end and observe how the soldier acted. Let's make a plan of action.

Children reread the tale in parts, numbering the events with a pencil. Then the results of the work are discussed, pre-recorded on the board are opened soldier's actions: noticed an ax; offered to cook porridge from an ax; asked to bring a cauldron; he washed the ax, lowered it into the cauldron, poured water and put it on the fire; stirred and tasted; complained that there was no salt; salted, tasted, complained that it would be nice to add cereals; added cereals, stirred, tasted, praised and complained that it would be nice to add oil; added oils; began to eat porridge. Combining small actions into larger ones: he planned to deceive the old woman; prepares the ax for cooking and begins to cook it; stirring and tasting, one by one asks for salt, cereals and butter; eats porridge.

Now let's watch it How did the old woman behave? at every given moment.

Has her mood and behavior changed? What are these changes?

We encourage children to imagine what illustrations can be made for this tale and describe the soldier and the old woman at every moment of the action (oral word drawing).

Help with questions:

- What is the background of the action?? (hut, furnishings in the hut, stove, utensils, etc.)

- Where does the soldier stand, how does he stand, where does he look(to the old woman, to the cauldron, to the side, etc. .), what does it do at this moment? What is his mood? What is he thinking about? What is his facial expression?

We propose to describe the old woman from the fairy tale "Porridge from an ax" at different moments of the action. We help with similar leading questions.

Then discussing an illustration in an anthology(Fig. 13 V.O. Anikin. “Porridge from an ax”).

- Is it possible to determine what moment of the fairy tale was depicted by the artist V.O. Anikin? What helps (or, conversely, hinders) to do this?

An effective means of stimulating the development creative imagination enriching with inner visions is the oral description of the pictures that arise or should arise in the imagination of the reader who perceives piece of art. Unfortunately, in the process of teaching expressive reading, this technique is rarely used.

Work should not begin with children creating their own word drawings, but with an analysis book illustrations, paintings. Part of the teacher organizes the comparison of illustrations and text. In this case, O. Kubasova offers the following tasks:

· select a picture (picture) to the text;

find in the text captions for each of the fragments picture plan;

Compare a drawing (picture) and a piece of text;

compare illustrations different artists to one piece of literature.

It is better to start learning verbal drawing by creating genre (plot) pictures. At the same time, it must be remembered that word picture it is static, on it the characters do not move, do not talk, they seem to be frozen, as if in a photograph.

At any of the stages of teaching word drawing, the order of work will be the same.

1. An episode is selected for verbal drawing.

2. “The place where the event takes place is drawn.

3. Depicted characters.

4. Necessary details are added.

5. The contour drawing is “painted”.

Complicating the work is possible, firstly, due to the fact that “coloring” will be carried out along with “drawing”, and secondly, in the transition from collective work to individual ones, when the student offers one element of the illustration, the rest are corrected if necessary.

Word drawing of landscape illustrations is usually done by poetic texts. When working on lyric works this technique should be used with extreme caution, since when reading the lyrics there should not be clear visual representations, everything should not be expressed to the detail, it is impossible to concretize poetic images.

Usually, after separating the figurative picture created by the writer from the context, verbal drawing proceeds approximately on the following questions: “What shall we draw in the foreground? Why? How does the author say both? What should be shown nearby? What words help us see this? What haven't we drawn yet? Then the children choose color scheme, paying special attention to the overall color of the picture, expressing the aesthetic experiences of the writer. Very important, according to O.V. Kubasov, is constant attention to the author's language, especially to epithets. (7)

Using this technique, the teacher himself must be ready to vividly depict a picture that is sometimes only hinted at in the text.

With verbal drawing, another type of work has some similarities - compiling a filmstrip.

A filmstrip is a series of verbal or graphic drawings, the content and order of which correspond to the sequence of events in the work, and each figure is provided with captions (captions).

O.V. Kubasova proposes the following procedure for compiling a filmstrip. ()

2. Divide the text into parts (pictures, frames).

3. Select the "main" sentences in the first part (for titles).

4. Imagine mentally a picture for the first part of the text.

5. Verbally “draw” a picture for the first frame.

6. Graphically depict the frame (performed at will, not in the lesson).

7. Based on the sentences highlighted in the text, make captions for the frame (orally or in writing).

8. Check the correspondence of the picture and titles.

9. Do the same with each part of the drawing.

If the text contains dialogues, then you can use the technique of scoring frames.

Suggestive questions.

Whatever method the teacher resorts to in the lesson, he uses the method of conversation, remembering that it should be lively and relaxed. In such a conversation, not only the teacher asks, but also the students, and not only the students, but also the teacher answers. With his questions, the teacher responds to children's mistakes in reading, for example: “Is there a need for a pause here? Which? Which word in this phrase should be highlighted with logical stress? What feeling does this phrase evoke? Why?".

Of course, the teacher resorts to conversation not only in cases where students make mistakes in reading. The teacher can proceed to a conversation related to teaching expressive reading immediately after exemplary reading of the text. In this case, Methodist B.A. Buyalsky proposes to think over and prepare a system of questions that are approximately in this order.

Questions to help understand meaning readable text

Questions prompting to present a picture drawn by the author;

Questions that help determine the attitude of the author to the depicted by him, his feelings, moods;

Questions, the purpose of which is to find out the attitude of students to the work;

Questions that encourage children to look for the best intonation options to reflect the feelings, thoughts, intentions of the author, as well as their personal experiences caused by the work.

Choral reading.

Choral reading has been part of the practice of the school for a long time. Even K.D.Ushinsky recommended it as a technique to help revive a tired and distracted class. Choral reading does not allow any of the students to remain passive.

Sometimes choral reading is confused with collective recitation. But these are not identical concepts. Unlike choral reading, which sounds in unison, collective recitation involves the performance different parts lyrics by different performers and groups of performers. Choral reading has its advantages and disadvantages. According to B.A. Buyalsky, the shortcomings of choral reading are that "it gives off "learning from the voice" and not always justified monotone." (8) To avoid this, B.S. Naydenov, T.F. Zavadskaya, "it is necessary to observe the correctness and expressiveness of choral reading." (12) According to these methodologists, “the school should not have inexpressive choral reading. Expressive choral reading will say the essential positive influence on the expressiveness of individual reading and the culture of speech among students. (eleven)

M.A. Rybnikova highly appreciated this technique. “Make an individual student read the poem - before the polyphonic reading and after such a reading. The second performance, under the influence of the sound of the text in the class, will become more expressive for an individual student.” (24)

It should be noted one more of the shortcomings of choral reading, which T.F. Zavadskaya, - choral reading deprives the reader of individuality, subordinating the general choral sound, makes him imitate.

B.A. Buyalsky, on the contrary, sees in this some merit of choral reading. “Schoolchildren are known to admit that they feel how to read, but they don’t know how to read properly. Modest, shy students find it especially difficult to read “in front of everyone”. But in the choir, they feel freer and read more confidently, ... the choir infects with a general upsurge, general mood, the tone that the teacher sets with his show. (18)

As you can see, the opinions of methodologists are quite contradictory, but most of them are inclined to favor this technique.

How should work be organized using choral reading in the lesson? B.A. Buyalsky proposes to organize it in the following order: (18)

1. Exemplary reading of the passage by the teacher.

2. Reading by a student of average ability.

3. Marking (if necessary) with score marks of the most difficult links, texts.

4. Repeated reading of marked measures and links.

5. Re-reading the entire passage by one of these students, the reading of which (in the opinion of the teacher) will not need additional clarifications or alteration.

6. Repeated reading by the teacher, especially necessary if the student's reading was unsuccessful.

7. Reminder of the teacher before the choral reading that one should not shout out so as not to disturb others.

In the lesson, you can practice reading "small choirs", consisting of 5-8 best students. In order for participation in collective reading to bring the greatest benefit, it should be quite conscious for each student. Each member of the choir must understand what he expresses and how he achieves it. Therefore, choral reading should be preceded by detailed analysis works.

Face reading.

This technique M.A. Rybnikova attached great importance. She rightly noted that he sharpens attention to the hero's speech, to its specifics.

Reading in faces is practiced on final stage work on the text (most often fables), when the students figured out the characters of the characters whose lines they will pronounce, and imagine in what situations these words are pronounced.

Preparation for reading in the faces of B.A. Buyalsky, for example, suggests conducting in the following sequence. (18)

1. A short conversation that helps children to fulfill or clarify the features of the character and speech of the characters.

2. Additions of the teacher to the statements of schoolchildren about the characters of the characters and a reminder that the performer of the role reincarnates into an image-character and in the process of performance he no longer addresses the audience, but to the partners.

3. Selective reading students of the most difficult phrases (if necessary).

4. Teacher's corrections for this reading (if necessary).

5. Independent preparation of students for reading in faces (reading the text with their eyes or in an undertone).

6. Teacher's answers to questions that may arise in children in the process of preparation.

7. The selection of performers, which can be organized either on the basis of taking into account the inclinations of students (to whom which role is more suitable), or on the basis of the principle: each row or option is prepared to play a specific role.

On initial stage teaching expressive reading, the teacher, of course, should give an example of intonation analysis, using the reminder:

Correct reading in terms of grammar and orthoepy. diction.

Correct placement accents.

Fidelity to the duration of pauses.

Choosing the right pace for reading.

Compliance with the melody of reading, that is, the movement of tone over sounds of different heights (raising and lowering the voice).

Emotional reading.

Expression of the relationship of the reader to the read.

At the same time, the teacher can facilitate tasks by offering one part of the class to make comments on pronunciation, the other - in semantic shades, the third - in the reflection of feelings, and exchange these tasks in order to avoid monotony in the work of the class.

It is necessary to create conditions under which each student closely monitors the reading of students. The teacher himself should constantly, with a pencil in his hand, follow the reading of the students, correct, direct and encourage them; talk first about the merits, even if they are insignificant, and therefore about the shortcomings; explain why he likes or dislikes the student's reading. The teacher and students, when correcting others, should take care that the comments are specific, well-grounded and benevolent.

Reading by roles, as one and forms dramatization (staging), attaches great importance O.V. Kubasov. “There are forms of dramatization of varying complexity, which should be introduced gradually, more and more complicated, taking into account age opportunities children and lesson objectives. (10) Let's name the main forms of dramatization in order of increasing complexity:

Analysis of illustrations in terms of the expressiveness of facial expressions and pantomimics of the characters depicted on them;

Staging individual (one person participates) and group (several people participate) "live pictures";

Preparation and pronunciation of a separate replica of the hero of the work with the installation to use not only intonation, but also plastic expressiveness (facial expressions, gestures, movements);

Role Reading;

Dramatization of the expanded form.

Among the existing techniques and methods for teaching expressive reading, one can also highlight artistic (expressive) reading of prose And artistic storytelling.

Artistic storytelling- this is the free transfer of a work in the performance of which the model is art folk artists- storytellers. If students master this technique, then it will be easy for them to move on to artistic reading prose, that is, to the literal transmission of a prose work.

important place the school should be occupied by the work of the teacher to develop the technique of students' speech: correct breathing, clear pronunciation and good sounding of the voice. The teacher, whose speech should be a model for students, must himself have good technique speech, constantly improve it and carry out purposeful systematic work with students in this direction. In most cases, it is necessary to use such exercises that allow you to simultaneously train breathing, diction and voice.

Thus, after analyzing methodical literature, we have identified quite a lot of various methods, techniques and types of work to develop the expressiveness of reading. Using all of the above methods and techniques, the teacher should take into account age features children, their level of development of the necessary skills and abilities, as well as their capabilities and requirements of the program.

Verbal illustration in the lessons of literary reading.

illustration- reception creative work students used in reading lessons, as well as when writing essays and presentations. Illustrations are taken ready-made, pre-selected, or created by the children themselves. Oral (verbal) drawing techniques are used. Verbal illustration (drawing)- this is the ability of a person to express his thoughts and feelings on the basis of a read fairy tale, fable, story, poem. In no case should verbal drawing turn into a retelling of the work. I begin teaching verbal drawing with the creation of genre (plot) pictures. At the same time, it must be remembered that the verbal picture is static, in it the characters do not move, do not talk, they seem to “froze”, as if in a photograph, and do not act, as on the screen. At the first stage of teaching verbal drawing, it is advisable to use the so-called "dynamic" picture that gradually appears before the eyes of children.

At the first stage of teaching verbal drawing, a visual support is needed, which can be used as the so-called “dynamic” picture that gradually appears before the eyes of children. At the same time, after the students verbally describe each detail of the drawing, any interior, the character, pictures are gradually attached to the demonstration sheet of paper, corresponding to the just “drawn” verbally. The location of the elements of the picture is discussed with the children. So in the course of work, a complete picture is created for the episode, which serves as a visual support for the ideas that have arisen in the imagination of the students. In addition, you can also use a demonstration manual of three sheets, which are attached one on top of the other to the board in sequence, and as the oral picture appears, they are opened in front of the children.

At the next stage, you can use the following techniques:

Selected episode to illustrate, discussed in in general terms plot future picture, location of its main elements, color. Performed pencil sketch followed by a verbal description of the illustration.

Children "draw" a picture with words, and then compare it with the corresponding illustration in a children's book or in a textbook on literary reading.

At the following stages of teaching oral illustration, the following techniques are used:

1) an episode is selected for verbal drawing;

2) the place where the event occurs is “drawn”;

3) characters are depicted;

4) necessary details are added;

5) the contour drawing is “painted”. Complicating the work is possible due to the fact that “coloring” will be carried out along with “drawing”, and secondly, during the transition from a collective form of work to an individual one.

Only at the final stage of teaching oral illustration can children be offered to do verbal drawing to the text on their own, without visual support. (“There is no illustration in the textbook. Let's try to create one ourselves.”) Word drawing (illustration) increases emotional level perception artistic text. Usually word pictures are drawn to those episodes that are especially important for understanding. ideological concept story. If the description is illustrated, then the most beautiful and at the same time accessible to children paintings are selected.

Verbal drawing of landscape illustrations is usually done for poetic texts. When working on lyrical work the method of verbal drawing should be applied with extreme caution, since when reading the lyrics there should not be clear visual representations, everything should not be expressed to the details, it is impossible to concretize poetic images by separating them.

Bibliography:

Goretsky V.G. and others. Lessons of literary reading according to the textbooks "Native speech": Book. 1, 2, 3; The book for the teacher. - M., 1995.

Nikiforova O.I. Psychology of perception fiction. - M., 1972.

http://www.pedagogyflow.ru/flowens-641-1.html

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Fragment of the lesson "Discovery of new knowledge" on the topic "Balmont Konstantin Dmitrievich Poem "Autumn""

Target: create conditions for skills development expressive reading, assimilation by students literary device"personification" and teaching verbal drawing.

Personal Outcomes

Develop communication skills in a group discussion of the performances of the guys

To form the ability to evaluate their own knowledge and skills in literary reading

To form the ability to verbally evaluate the work of their classmates in the form of judgment and explanation

Metasubject Results

Regulatory universal learning activities:

Evaluate your own results learning activities using self-assessment sheets

Formulate the goal, tasks of educational activity with the help of the teacher's lead-in dialogue

Recognize and accept learning task

Cognitive universal learning activities:

Learn to formulate a learning problem by answering problematic issue

Extract new knowledge: extract information presented in different forms(text, table, diagram, figure, etc.)

Communicative universal learning activities:

Communicate your position to other people

Engage in learning collaborations with the teacher and classmates

Build a conscious statement oral

Subject Results

Learn to identify the main idea of ​​the work and its mood

Learn how to use personification.

Task "Word drawing".

Verbal drawing (oral and written) is a description of images or pictures that arose in the mind of the reader when reading a literary work. A verbal picture is otherwise called verbal illustration.

This approach is aimed primarily at on the development of the ability to concretize verbal images(imagination). In addition, the child's speech and his logical thinking develop. In verbal drawing, the reader must, relying on the verbal images created by the writer, detail your own vision in the visual picture, which he reproduces, describes orally or in writing.

At the same time, there appear two dangers: you can stray on direct retelling the author's text, and if the involuntary imagination is too active "forget" about the author's picture and start describing your own.

This reception requires a number of steps: read, present, concretize, choose the exact words and expressions for description, logically build your statement. In addition, the technique involves describing in a static picture the complex relationships of the characters.

This approach directs children's attention to the text: they re-read its individual fragments, since only semantic and pictorial stylistic details will help them clarify verbal images, clarify them, present what the author describes in detail. The student gradually "enters" the world of work and begins see it through the eyes of the author or one of the characters(depending on from whose point of view the picture is being recreated), i.e. joins the action, which means that he will be able to supplement the author's picture with his own details. Then the result of the work, which is based on text analysis, will not be a retelling and not a description torn off from the author's intention, but a creative picture that is adequate to the author's intention, but more detailed and necessarily emotionally evaluative.

Reception training leaks several stages .

1. Examination of graphic illustrations. First, the teacher organizes observation of how the illustrator conveys the author's intention, which helps the artist create a mood, express his attitude towards the characters. In the process of this work, children get acquainted with the concept of “composition of a picture”, with the meaning of colors, color, line. This work can be carried out both at the lessons of fine arts and at the lessons of extracurricular reading.

2. Choice of multiple illustration options the most appropriate to the episode under consideration of the work with the motivation of his decision.

3. Collective illustration using ready-made figures consists in the arrangement of characters (the composition of the picture), the choice of their poses, facial expressions.

4. Self illustration favorite episode and an oral description of what he himself drew. This technique can be complicated by asking the children to describe the illustrations made by their classmates.

5. Analysis of illustrations made with a clear deviation from the text of the work. Children are offered illustrations in which the arrangement of characters or other images of the work is disturbed, some of the author's details are missing or they are replaced by others, the coloring is disturbed, the postures and facial expressions of the characters are distorted, etc. After examining the children, they compare their perception of the text with the perception of illustration.

6. Collective oral drawing illustrations- genre scenes. At this stage, the children choose the color scheme of the illustration.

7. Independent graphic drawing of a landscape and his oral description or the description of the landscape by the artist.

8. Verbal Oral drawing of a landscape from detail text.

9. Collective oral detailed description of the hero in a particular episode(how you see the hero: what is happening or happened, the mood of the hero, his feelings, posture, hair, facial expression (eyes, lips), clothes, if it is important, etc.) The question-mi teacher helps the children create a description.

10. Collective and independent verbal verbal drawing of the hero first in one specific situation, and later in different

11. Independent verbal oral illustration and comparison of the created oral illustration with graphic.

Naturally, one can master the technique of verbal drawing only after mastering the elementary skills of analyzing illustrations for a work. However, as propaedeutics, already at the very first stages of studying literary works, it is advisable to offer children such questions as: “ How do you imagine a hero ?», « How do you see the situation of the action?”, “What do you see when you read this text? " And so on.

Examples of organizing oral verbal drawing in the classroom:

A fragment of a lesson in the 1st grade on a fairy tale « Ax porridge »

The stage of rereading the text and its analysis

- Let's read the tale to the end and observe how the soldier acted. Let's make a plan of action.

Children reread the tale in parts, numbering the events with a pencil. Then the results of the work are discussed, the previously recorded on the board are opened soldier's actions: noticed an ax; offered to cook porridge from an ax; asked to bring a cauldron; then he washed it, lowered it into a cauldron, poured water and put it on fire; stirred and tried; complained that there was no salt; salted, tasted, complained that it would be nice to add cereals; added cereals, stirred, tried, praised and complained that it would be nice to add oil; added oils; began to eat porridge. Combining small actions into larger ones: he planned to deceive the old woman; prepares the ax for cooking and begins to cook it; stirring and tasting, one by one asks for salt, cereals and oils; eats porridge.

Now let's watch it How did the old woman behave? at every given moment.

Has her mood and behavior changed? What are these changes?

We encourage children to imagine what illustrations can be done for this tale and describe the soldier and the old woman at every moment of the action (oral word drawing).

Help with questions:

— What is the background of the action?? (hut, furnishings in the hut, stove, utensils, etc.)

— Where does the soldier stand, how does he stand, where does he look(to the old woman, to the cauldron, to the side, etc. .), what does it do at this moment? What is his mood? What is he thinking about? What is his facial expression?

We propose to describe the old woman from the fairy tale "Porridge from an ax" at different moments of the action. We help with similar leading questions.

Then discussing an illustration in an anthology(Fig. 13 V.O. Anikin. “Porridge from an ax”).

- Is it possible to determine what moment of the fairy tale was depicted by the artist V.O. Anikin? What helps (or, conversely, hinders) to do this?

Reception comparison of a literary work with illustrations to it

The essence of the reception is in comparison of the verbal image with its interpretations by the artist as an illustration to the text of a literary work. With such a complex analytical activity junior schoolchildren get an idea of ​​the point of view of another person on the situation described by the writer and its participants. Thus, in the mind of the child, his own vision of the episode collides with the vision of the artist. This collision is the impetus for creation problem situation at the lesson and encourages children to analyze the text to clarify their own impressions and ideas.

Looking at illustrations is one of the leading techniques at the stage of learning to read.. It is here that you need to prepare children to communicate with the illustration as with a work of art. Looking at pictures in books from oneself interesting lesson turns into critical activity: children begin to correlate the illustration with the author's description and narration. At the stage of studying literary works, this reception of important women and as an independent, And as preparatory to more complex types of work.

Purpose of illustrations:

- arouse interest in the viewer to the situation and / or characters;

- evoke an emotional response from the viewer;

- draw attention to important details this situation;

- convey the point of view of what is happening either by the author, or the narrator, or one of the characters - participants in the episode.

Illustration requirements:

1. Illustration must answer aesthetic principle , i.e. be a complete work of art. Not all illustrations in elementary school literature anthologies correspond to this principle, therefore, until children learn to distinguish good work from the bad ones, you should not stop their attention on these "masterpieces", even if they are placed in an anthology. The teacher can pick up a reproduction himself or bring a book that contains the pictorial series necessary for the lesson, or use modern information technology and work with works of fine art using a computer and a multimedia projector.

2. The illustration should provide implementation of the principle of goal-oriented analysis , i.e. really give the reader the opportunity to think about the feelings, experiences of the characters, about the conflict between the characters, about the character’s point of view on the situation.

3. Illustration to be done to an episode or situation that cause bright reader emotions, i.e. when choosing an illustration, the teacher must take into account the emotional reactions of the reader.

4. All students should be able to carefully examine the illustration , in the process of analysis, the picture should always be in front of the student.

Illustration analysis algorithm:

1. The teacher offers the children consider illustration , putting specific question :

What feelings did the illustration evoke in you? Why?

What episode is the illustration for? Justify your opinion.

Who is shown in the illustration? Why did you decide so?

- Does the illustration correspond to the content of the episode, the mood that it evokes? Why do you think so?

- What did the artist manage to convey, and what did he fail to convey? Why do you think so?

2. Students looking at the picture and prepare to answer the teacher's questions.

3. The teacher listens to the answers , all the time drawing the children's attention to the individual details of the illustration with the help of leading questions.

4. Poll turns into a conversation , during which:

A) comes to light general impression , and then it is specified what feelings the content of the episode evokes in readers and what feelings the content of the illustration gives rise to in viewers; what is the emotional atmosphere of the episode and illustrations;

b) turns out how an emotional atmosphere is created in a text and how is it transmitted in the picture that helps the artist to express feelings and experiences;

c) compared painting composition with the arrangement of characters and the background of the action in the work, postures and facial expressions are analyzed characters or details of the landscape and their role in creating an emotional atmosphere (It is important that children see how accurate the artist is in conveying the mood of the episode and characters, what details help him in this and what role the visual techniques he has chosen play .)

G) the expediency of deviations from the author's text is analyzed allowed by the artist: what the artist missed (did not draw) or brought into the picture, which the author of the literary work does not mention; Is this done in general accordance with the author's intention, his attitude to the characters and events, or does it contradict them?

Episode-illustration juxtaposition technique aimed at activating the attention of students to the text, contributes to the development of the reader's imagination and the formation of the following skills:

- see figurative and expressive means language and realize their role in the text;

- analyze the composition of the episode, the images of the characters;

- compare your point of view with that of another reader(in this case, the artist) and the point of view of the author;

- understand the specifics of languages different types art and be able to communicate with works of art.

Activities: in the lesson, you can analyze book covers; compare illustrations by different artists for the same episode; choose from numerous illustrations those that are made by one artist; to motivate the choice of the most successful, from the point of view of the child, illustration; analyze works of fine art (not illustrations) and decide whether they can be used to design a book with the text of this literary work.

Bibliography:

1. Kubasova O.V. Development of recreative imagination in reading lessons. - Primary School. -1991.-№1.-p.30

2. Lvov M.R. Methods of speech development. - In the book: Lvov M.R., Goretsky V.G., Sosnovskaya O.V. Methods of teaching the Russian language in elementary grades.- M. - 2000.- P.401

3.Korepina L.F. - Working with illustrations in reading lessons. - Elementary School. - 1990. - No. 2. - p.27

4. Sidorenkova V.V. Some creative reading techniques. - In the book. Questions of reading methodology in elementary school. - Comp. Goretsky V.G., Omorokova M.I. - M.1964.- P.101

5. Mosunova L.A. Teaching verbal drawing in the lessons of literary reading. - Literature at school. - 1994.- №2.- P.77