The main stages in the development of methods of teaching literature. Innovative technologies in the practice of teaching literature Essays on the methodology of teaching literature Rybnikova
that good, became joyful and calm. Only occasionally from a branch,
too overloaded with snow, a lump flew off and softly, almost inaudibly
fell down.
I would have admired for a long time, but the frost made itself felt. my legs,
lightly shod, they began to freeze and ache, and I had to enter the house. In the room
we felt like a holiday. Girls, cheerful and smart, scurried back and forth.
go ahead, we were supposed to have a concert today, and we were waiting for the organizer
his face.
Finally, she appeared. The guests took their seats and the concert began.
“Tanya, come out,” whispered Olga Ivanovna, and a girl of about fourteen
stepped forward.
She was of medium height, plump rather than thin, with a white face and hair.
also blond. This face could be called beautiful, but the expression
the eye spoiled him. They were light blue, clean, pubescent with dense res-
prostrate. But there was something impudent, self-confident in them, and they looked somehow
directly, and stuck into the face. She stepped out firmly, tilting her head slightly back.
Her cheeks were covered with a blush that spoke of inner excitement.
She recovered and started. The first sound of her voice awakened the coming
silence. He was insecure, but still strong. He reminded me of the first
the strike of the clock: it is heard just as strongly and calmly in silence. Behind the first sound
to whom others went, as confident as she herself. She sang the famous
romance: "Sleep, fighting eagles ..." Her voice, although it was soft, was like
rather on the masculine in its strength and meanness. But there was no feeling in her singing,
she thought only of her voice and sang evenly and calmly. The last sound of her voice
did not freeze, but calmly broke off and fell silent.
“What a strong voice the girl has,” I heard behind me and looked around.
back.
All faces were calm, although they smiled approvingly.
After a short break, the concert continued. next song
performed by a girl of about thirteen, small in stature, with dark blond hair.
She was thin, it was evident that she had recently got up after an illness. face
she looked good, embarrassed, big gray eyes looked timidly from under long
eyelashes. The nostrils of the upturned nose twitched. She stepped forward,
fiddling with his apron in his hands. Opening chords rang out in the hall.
Claudia (that was the name of the girl) somehow shuddered all over, looked around, let out
from the hands of the apron and start. The first sound of her voice trembled like a strained
a string struck by a timid and uncertain hand, but the following
were no longer the same. True, they also trembled, but it was not a timid
trembling: it was the vibration of her pure, gentle, thin voice. she sang
Glinka's romance "The Lark", and her voice matched the song as well as possible.
Listening to her, I clearly imagined a summer day and the song of a lark. Her go-
the sliver had already recovered and softly, like the chirping of a bird, rang and spilled.
I was somehow sad and at the same time somehow at ease, nothing pressed my chest,
this sadness was about summer, about the warm summer sun, about greenery, about flowers. All this
like a song. I sat, listened and reveled in the sounds that were being heard,
I wanted this song to never cease, and when the last sound,
shimmering and trembling like a trickle, froze in the air, I looked up at Klav-
diyu. She smiled shyly and leaned over the deafening applause.
kaniya.
I looked at the audience. It was evident that Claudia's singing produced
impression. The faces were thoughtful, there was some kind of sadness on everyone. Some
the girls asked me if I liked Claudia's singing, but I
She didn't answer and walked out onto the porch again. I wanted to be alone
I wanted the song to ring and ring in my ears.
The clear frosty night embraced me affectionately: the stars shone affectionately,
as if approving the singing, and the haughty pine trees still stood silently
thinking about something. The snow looked blue. I looked around, but I couldn't
forget Claudia's embarrassed eyes. It seemed to me that she was so dear to me, so
I love her. I was annoyed that they were praising her, and I wanted her to
she sang and sang without end, although the sounds of her voice, both living, rang in her ears.
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The main stages in the development of the methodology of teaching literature
V.V. Danilov (1881-1970)
The best methodological works of Vladimir Valerianovich Danilov, a literary critic and methodologist who taught at the beginning of the century in a St. Petersburg men's gymnasium and at the same time lectured at a teacher's institute, came out before the revolution. In them, he acts as a supporter of academic teaching, relies on the aesthetic theory of A.A. Potebni.
In the course of lectures on the methodology “Russian Language in Higher Primary Schools” (1914), Danilov, sharply negatively evaluating the methodological ideas of Ts.P. Baltalona, declares that the school should not be turned into a place of entertainment and that the teaching of the Russian language and literature should contribute primarily to the mental development of students. It is on this basis that he builds his teaching system, in which an important place is given to the logical and stylistic study of the language and the development of students' speech. In the second edition of the lecture course "Methodology of the Russian Language" (1917) and especially in Danilov's main methodological work "Literature as a subject of teaching" (1917), the influence of the Potebnian school is most pronounced.
Danilov rejects the "moralistic direction" widespread in the school, the view of literature as a means of direct influence on students, considering that the main pedagogical mistake that influenced and continues to influence the teaching of literature is the assessment of literature only from the side of its content. He performs like A.D. Alferov, is against conversations "about" that do not lead to the knowledge of literature. Nor do these "everyday conversations" lead to knowledge of reality, since literature is not a reflection of life. A literary work is a reflection of the subjective experiences of its author, the result of figurative thinking.
The content of a work, he repeats Potebnya's thesis, is "an imaginary known quantity." Different persons will perceive the same work in different ways, which is due to the individual properties of the personality's consciousness, its previous experience. Therefore, Danilov believes, the main place in the literature lesson should be given to the study of the external (language and style) and internal (system of images) form of the work, the development of students' logical and figurative thinking. The book "Literature as a subject of teaching" contains a number of interesting observations concerning the problems of the psychology of artistic creativity and the peculiarities of the perception of literature by students, as well as successful examples of analysis, questions and tasks for studying individual works of Russian literature of the 18th-19th centuries.
Danilov is credited with creating one of the most original and detailed concepts of teaching literature in high school, taking into account both the achievements of domestic and foreign literary criticism, and the latest research in the field of psychology and didactics. He is the first to give a psychological justification for the teaching of literature at school, noting that a language teacher should be well acquainted not only with the nature of artistic creation, the "psychological essence of literature", but also with the peculiarities of the process of perceiving a work of art by a school reader.
Contribution of V.V. Danilov in the theory and methodology of teaching literature seems to be especially significant also because his book also proposes a detailed system of teaching methods, theoretically substantiated and illustrated with examples from practice. The teacher makes an attempt to develop one of the first typologies in the domestic methodology learning tasks based not on the content of the educational material, as in most educational and methodological manuals of that time, but on the nature of the student's mental activity.
During these years, other well-known teachers also developed original courses in the methodology of teaching the Russian language and literature for students and teachers. Of particular interest are "Fundamentals of Methods of Teaching the Russian Language and Literature in Secondary School" (1917) by N.S. Derzhavin, "Methodology of the Russian language and literature" (1917) A.E. Georgian.
Methods of teaching literature in the first post-revolutionary years
October Revolution of 1917 many linguists perceive it with hostility, but most of them continue to work in new conditions, using old programs and textbooks. Some former delegates of the First All-Russian Congress of Philosophers take part in the development of curricula, introduce, sometimes under the slogans of restructuring the school, their ideas into teaching practice, the 20s became a time of interesting methodological searches, countless experiments in pedagogy and methodology.
Many philologists, not having time to keep track of the change of attitudes and the flow of innovations, are in some confusion. Others find a way out in various forms of extracurricular work, officially encouraged and representing relative freedom in the choice of literary material and work methods.
In the "Curriculum for Russian Language Classes in a Labor School" (1918), the "labor method" is put forward as the main method of teaching, aimed at educating students in an active attitude to the world around them and preparing them for their subsequent labor activity. The teacher is given the right to independently choose literary material, the plan indicates only the main directions in the work - ethical and aesthetic analysis of the work, expressive reading, analysis of the language and form of the work, development of students' speech, education of aesthetic taste and creative abilities. Various forms of extracurricular work are also recommended, students are introduced to the technique of conducting meetings, debates, oratory techniques, etc.
In the first versions of the curriculum in literature, the former division of the course into reading individual works in the lower grades and the historical and literary course in the upper grades is preserved. Literary critics V.A. Desnitsky, V.L. Lvov-Rogachevsky. According to the thematic principle, it is proposed to distribute the material by S.I. Abakumov, M.A. Rybnikov.
At the end of 1921, a congress of teachers of the native language and literature opens in Petrograd, at which the “social activists” and “esthetes” continue their dispute. In the report of P.N. Sakulin "Theoretical premises of the literary course" the idea is expressed of the equal importance of the two main methods of studying a literary work in school - immanent and sociological. The position of the formal school is defended in his report "The Tasks of Poetics" by V. M. Zhirmunsky. In the report of N.L. Brodsky "The Stylistic Study of Literature" offers a combination of different methods for studying a literary work: "from intuition through style to historicism."
An attempt to take into account the achievements of different schools in literary criticism was the “Program for the I and II stages of the seven-year unified labor school” (1921), developed under the guidance of P.N. Sakulin. In the lower grades, the compilers of the program build the course according to the problem-thematic principle, highlighting three main "spheres of poetic creativity: the intimate life of the heart, social reality and philosophical quest." Teachers are offered four options for in-class reading lists. The first takes into account the "prevailing interests of students", in the second the works are arranged according to the thematic principle, in the third the social, thematic and genre principles are combined, and the fourth could become the basis for studying "a strictly thought-out course of poetics". In the senior classes, a traditional historical and literary course is recommended, supplemented by the works of Radishchev, Herzen, Saltykov-Shchedrin, G. Uspensky and Gorky. The authors of the program, paying tribute to the time, note the primary importance of the “Marxist method”, however, in constructing a literary course and in their recommendations, they rely on the traditions of academic literary criticism and methodology.
The compilers of the so-called "complex programs" developed on the basis of the recommendations of the scientific and pedagogical section of the State Academic Council (SUS) (1925) destroy the traditions more decisively. The new programs, according to the head of the section N. K. Krupskaya, are designed to help students "embrace modernity in a Marxist way." They are based on the idea of integrated education, which was positively received in the People's Commissariat of Education and approved by the Central Committee of the All-Union Communist Party of Bolsheviks. Literature as an academic subject loses its independent significance, and literary works turn into illustrations for complex social science topics such as "City", "Village", "Capitalism and the working class", "Struggle and emancipation of the working class", etc. The program carefully developed the main directions of independent "literary- research work over life material”, as additional tasks, exercises aimed at developing aesthetic taste, analyzing the form and language of the work are offered. Russian classics, especially lyric poetry, clearly did not fit into the complex, but modern domestic and foreign literature, books by proletarian writers are more widely represented than ever. As illustrations for certain topics, excerpts from the works of E. Zola, A. France, A. Barbusse, E. Verhaarn, D. London and other foreign authors are recommended.
Literary specialists meet the GUS program sharply negatively. In defense of the independence of literature as an academic subject, V.V. Danilov, I.P. Plotnikov, K.P. Spasskaya and other teachers. Many philologists consciously deviate from the program and work according to their own plans. Even supporters of integrated learning, who highly appreciated the focus of the new program on the active assimilation of knowledge by students and the development of their independence, could not hide their confusion. One of the teachers describes his work experience as follows: “As an object of literary studies, secondary and even tertiary writers emerge from the literary bottom, and stars of the first magnitude remain outside the field of observation and study (for example, Lermontov, Tolstoy, who cannot be fastened either to the handicraftsman or to the factory).
The leaders of the People's Commissariat of Education also note the shortcomings of integrated programs. In the new program (1927), prepared with the participation of literary critics, the main place is occupied by works of Russian and foreign classics. Literature is again becoming an independent academic subject. The course of literature in the senior classes is based on the historical and literary concept of V. F. Pereverzev, who explained all the elements of the style of a work of art by the class existence of the author, but at the same time took into account the specifics of artistic creativity and denied the ideological nature of literature and the connection between literature and politics. The program, drawn up in the spirit of the old academic traditions, did not include the works of revolutionary democrats, nor did it provide for the obligatory study of modern literature.
In 1929-1930s. a discussion unfolds about the “Pereverzev school”, accused of revising Marxism, the works of P.N. Sakulin and other literary critics and methodologists who deviated from the Marxist-Leninist methodology. The school is faced with the task of strengthening the ideological and educational orientation educational process.
The “Project of New FZS Programs” (1931) is based on the “project method”, which leads to the abolition of the class-lesson system and to the next experiments in teaching literature, which again turned into an illustration of social science topics and one of the means of “agitation for the five-year plan”. The main place in this program is occupied by the works of Soviet writers. Russian classics are presented sparingly and only "in order of contrast with modernity."
The idea of “comparison of what is depicted with reality”, put forward in the works of V.I. Vodovozov, finds its logical conclusion and takes on completely caricatured forms in the method of “verification with reality”, described in the book by E.N. Petrova "Language and Literature at the Advanced Polytechnic School" (1931). The author gives an example of "development" according to the method of projects "The Stories of the Supervisor" A.A. Karavaeva. After reading the text, students try to understand the reasons for the marriage made on the machine, but "an artistic description is not enough." It is not possible to solve the problem even after the drawing is made. And only after an excursion to the workshop, the “nail of the story” is clarified - the reason for the marriage in production.
The decree of the Central Committee of the All-Union Communist Party of Bolsheviks “On Primary and Secondary Schools” (1931) condemns the project method. The school is returning to the traditional class-lesson system.
The stable program of 1933, prepared with the participation of well-known literary scholars and educators, is based on the principles of Marxist-Leninist methodology. The program provides for the study of works of Russian and foreign classics, Soviet writers, excerpts from articles by revolutionary democrats, G.V. Plekhanov and V.I. Lenin. Subsequently, the program is repeatedly revised, some minor changes occur in the content of the literary course, the list of works is expanded Soviet literature, however, the main focus and structure of the course as a whole has not changed for almost six decades.
In the 30s. articles devoted to the problems of studying classical literature at school appear on the pages of pedagogical and methodological journals, but the work of Soviet writers, primarily Gorky, Bedny, Mayakovsky, Panferov and others, is especially actively promoted. Extra-curricular classes in literature are also devoted to the works of these authors. The journal “Russian language in the Soviet school” publishes descriptions of the excursion “Images of the city at Mayakovsky”, the literary debate “Are Panferov’s “Brusks” called to fight for collective farms?” etc. A number of articles are published on the use of V.I. Lenin and I.V. Stalin.
Theoretical problems of teaching literature at school are posed in methodical works L.S. Troitsky, V.A. Desnitsky, S.A. Smirnova, N.I. Kudryasheva, G.N. Pospelov and other teachers. The first studies on the history of domestic methodology appear, among which the works of D.K. Motolskaya, A.P. Skaftmova and Ya.A. Rotkovich.
In the 20s. the main methodological manuals of N.M. Sokolov, the talent of M.A. Rybnikova and V.V. Golubkov, whose best methodological works were published in the 1920s and 1930s.
N. M. Sokolov (1875-1926)
Nikolai Mikhailovich Sokolov, the author of numerous methodological manuals and articles on the problems of school teaching of literature, worked in secondary educational institutions of St. Petersburg, collaborated in the Pedagogical Museum of the Military educational institutions, then lectured at the Pedagogical Institute. A.I. Herzen.
Sokolov is famous for the indexes of educational and methodological literature prepared by him for language teachers, the book “At the Lessons of the Native Language” (1917), as well as articles on the problems of analyzing a literary work, studying the theory of literature and using visual aids.
A special place in Sokolov's methodological system is given to the development of students' speech, various types of written work. His book The Oral and Written Word of Students (1927), based on the practical experience of the author, contains a system of exercises for the development of speech, based on the life experiences of students. At the same time, the methodologist does not follow traditions, rejecting transcriptions, imitations of models, compositions by analogy, considering it necessary, first of all, to stimulate the creative abilities of students, their critical thinking. Written works, in his opinion, should be related to the studied literary material and necessarily based on the personal life and reading experience of schoolchildren. He also recommends writing business papers and letters.
Sokolov's main methodological work is his book The Study of a Literary Work at School (1928), in which he sets out his views on the process of teaching literature, mainly focusing on the middle classes. He outlines the stages of work on the text of the work, characterizes introductory classes, reading and analysis of the text as the most important stages of study, final classes, which he associates with prepared artistic reading, dramatization, staging, with extracurricular and out-of-school work.
Offering a comparison of the artistic image with reality, with the life observations of students, recommending a discussion of the social and psychological issues raised in the work, Sokolov rejects frank moralization in the classroom. He also speaks negatively about the simplified approach of V.Ya. Stoyunin and V.P. Skopin to a literary work, which, in his opinion, is not a “proof of a theorem-idea”, but is closer to an “artistic illustration” on a certain topic. Here the methodologist finds the observations of the supporters of the psychological school more valuable.
Work with the text of the work is built by Sokolov according to the "compositional scheme". He puts the analysis of the composition and the system of images at the center of the literature lesson, emphasizing the particular importance of analyzing the elements of the form of a work and their artistic function, following the formal school here: “... since this or that technique is for the author a means to achieve one or another artistic effect, one or another aesthetic goal, insofar as one can speak of a teleological approach to the text. The study of the author's intentions is rather a scientific task and therefore is accessible on a scale only to older ages. But some steps in this direction can be taken much earlier.” The Methodist offers in his work examples of "philological reading, but complicated by an aesthetic task: to evoke appropriate images or emotions in children."
Methodological recommendations N.M. Sokolov were largely oriented towards the “complex programs” that were in place, but he always considers literature as an independent subject. Showing a certain conservatism and rejection of “methodological sloppiness” and all kinds of innovations in his approaches to teaching, he strove to be creative in the analysis of works, to bring into his methodological arsenal all the most interesting, deserving attention in the experience of other philologists. He allowed, for example, "literary experiments" on images, placing them in other living conditions, colliding with other persons, etc. His favorite methodological techniques are illustration, work with a plan, observation of style (euphony, poetic semantics, poetic syntax, etc.), amplification, i.e. distribution, addition of a work.
M. A. Rybnikova (1885-1942)
Maria Alexandrovna Rybnikova, philologist, folklorist, one of the most interesting figures in Russian methodology, author of numerous methodological and teaching aids, successfully combined research and teaching work, before the revolution she taught in Vyazma, in Soviet times she taught at the Malakhovskaya experimental school near Moscow. demonstration school, lectured at the Moscow Pedagogical College and at the 2nd Moscow State University, collaborated in research institutes. Passion for philology, constant search, amazing performance distinguished Rybnikova as a teacher. She was a supporter of the philological study of literature, in her works she often relied on the ideas of F.I. Buslaeva, however, she easily perceived everything new, while not avoiding delusions and causing many critical remarks in her address.
Even before the revolution a circle is formed scientific interests Methodist: oral folk art, stylistics, development of students' speech and extracurricular activities. She shares her work experience at the First Congress of Literature and in the articles “Themes for Extracurricular Conversations with Graduates high school”(1914), “The experience of gymnasium meetings in the city of Vyazma” (1917), “The experience of school staging of folk games, songs and customs” (1917), “Aesthetic perception of nature by students” (1917), etc.
In one of her first major works, "Studying the Native Language" (1921), Rybnikova offers a system of stylistic exercises, seeing them as the main way to comprehend the language. She pays special attention to the language of poets and writers, whom she calls "seekers of a new word", "romantics of speech", including Derzhavin, Gogol, Leskov, Dostoevsky, Balmont and Bely. She is fascinated by the poetry of the Symbolists. She considers A. Bely to be the largest stylist of our time. She also gives a high assessment of Russian symbolism in the book “A. Blok - Hamlet "(1923).
The predominant interest in the language and composition of the work, “the study of literature outside of time”, the desire to get away from the rigid framework of the program, the enthusiasm for extracurricular activities are also characteristic of another early book by Rybnikova, “The work of a philologist at school” (1922), written under the influence of intuitionism and revealing the methodology “ slow reading and a long stop on one creative individuality.
The textbooks Russian Literature in Questions, Themes and Assignments (1927) and Modern and Classical Literature at School (1927) reflected Rybnikova's dissatisfaction with school curricula and textbooks. She admits the possibility of deviations from the program, the free choice of works for analysis, suggests abandoning textbooks, replacing them with questionnaires containing tasks for students to independently observe the text of a work. One of the methodologist's favorite tricks is matching. A variety of methods of comparative analysis are recommended in the manual Study of Literature at the School of the Second Stage (1930), prepared by her together with VV Golubkov.
Rybnikova is greeted with interest by the emergence of “complex programs” and “project method”, in which she is attracted primarily by the opportunity to revive teaching, get away from monotony, “isolation of impressions”, and show freedom of creativity. Her enthusiasm for extracurricular activities and creative work, especially encouraged by the compilers of new programs, also affected here. However, she is still aware that classical literature is receding into the background, that literature as a subject is losing its independent significance. The historical and literary course never attracted her attention, but Rybnikova could not refuse to study the language of the greatest masters of the word, persistently recommending the analysis of their "language technique", linking this analysis with the development of students' speech. Her enthusiasm for the “project method” is reflected in her article “Language and Literature in the System of Polytechnical Education” (1930), written in the spirit of the time, and partly in the course for students “Methods of Teaching Literature” (1930).
In the 30s. Rybnikova publishes the collection Riddles (1932), the book Introduction to Stylistics (1937), participates in the creation of new programs and readers for the school, and prepares a collection of Russian proverbs. The problems of children's reading are devoted to her article "Classics in children's reading in the past and present" (1934). Separate chapters appear in journals and collections from her main methodical work, Essays on the Methods of Literary Reading (1941), which was then reprinted three times.
Rybnikova's "Essays", written in the best traditions of Russian methodology, outlines a holistic system of teaching literature in the middle classes, contains, like all other works of the methodologist, a wealth of practical material. The theoretical sections of the book are the result of the methodical searches of the famous teacher and philologist, who does not change his commitment to a thorough, serious philological study of the language of Russian writers. Highlighting the three main factors that determine the content of the methodology as a scientific discipline (the nature of the subject matter, the goals of educative education and the characteristics of children's perception and behavior), she highlights the subject matter - literature, demanding from the teacher, first of all, a good knowledge of his subject (precisely with This is how she starts her book.
“Methodology,” as Rybnikova defines it, “is one of the pedagogical disciplines that pursues the tasks of teaching and uses a number of scientific data for these purposes. The transformation of a multitude of knowledge and phenomena in all their elements into a system of holistic lessons is an independent and specific task of the methodology.
In constructing a literary reading course, Rybnikova relies on the experience of the Russian school, referring to the history of methodology.
She is forced to admit that there can be no "immanent reading" in the Soviet school; philological reading is also unacceptable for us, "because we read with certain attitudes, with certain tasks of labor and life education." As the predecessors of the Soviet methodology, she calls the democratic teachers of the 60-80s. XIX century, which put forward the connection of literature with life in the first place, valued realism in literature. However, the practical sections of the Essays, especially the chapters "Lessons", "Expressive Reading", "The System of Language Lessons", testify rather to the methodologist's loyalty to the best traditions of academic teaching of literature, manifested in a serious attitude to the theory of literature, in a predominant interest in analysis. forms of a literary work, the study of its language and composition.
AT.V. Golubkov (1880-1968)
The scientific and pedagogical activity of Vasily Vasilyevich Golubkov is multifaceted, but above all he was a talented teacher. V. V. Golubkov entered science as a scientist who developed the theoretical foundations of the methodology for teaching literature. Already in articles and speeches of the 30s. the researcher sought to comprehend the tasks of school methodology against a general historical and cultural background, to understand the relationship between literary criticism and methodology.
Problems of school analysis are constantly at the center of Golubkov's creative interests. In his first printed work, A New Way of Studying Artistic Works and Compiling Written Works (1909), the young teacher seeks ways to overcome schematism, builds all his work on the basis of direct acquaintance with a literary work, pays attention to the unique world of the writer, uses critical materials. At the same time, V. V. Golubkov’s craving for the psychological problems of teaching literature was determined: he was interested not only in the psychology of a student who perceives a literary work, but also in the psychology of a literary hero.
Golubkov's creative interests are extremely multifaceted. He explores the methods of teaching literature and creates a classification based on the process of joint activity of the teacher and the student: the lecture method, the method of literary conversation, the method of independent work. Golubkov explores the types of literature lessons depending on the stages of the educational process: introductory classes, reading, indicative conversation, text analysis, study additional materials, summarizing, accounting. The scientist clearly defines the influence of the characteristics of the studied material and the methodological task set by the teacher on the nature of the lesson. He masterfully performed his lessons, which are based on the analysis of the composition of a literary work.
It is difficult to overestimate the importance of Golubkov's work on the study of the history of Russian methodological thought for the development of Soviet pedagogical science as a whole. In 1946, he published an anthology "Teaching literature in pre-revolutionary secondary schools." In the same period, works were created devoted to the formation of theoretical and literary concepts among schoolchildren.
The importance of Golubkov's development of the theoretical problems of methodological science should be especially emphasized. The article “Theoretical foundations of the methodology of literature in secondary school” (1946) deeply substantiates that direction in the activities of the school, which in the modern conditions of the work of secondary and higher schools is understood as the humanization and humanitarization of education: “ Fiction gives the student a genuine knowledge of the world in a specific area that is inaccessible to such sciences as physics, mathematics, chemistry, and only to a certain extent accessible to such humanitarian disciplines as history and psychology. Literature gives the student a synthetic, holistic understanding of man and human society in all the diversity of his life, both in the past and in the present. Golubkov is convinced that "the theory of knowledge, aesthetics, pedagogy, literary criticism, linguistics and psychology - these are the six main disciplines in which one should look for a theoretical justification for the methodology of literature."
V.V. Golubkov was concerned that there was no scientifically developed model for student development. He made a number of valuable remarks on the problem of developing the perception and thinking of students. The methodologist revealed the relationship in the development of logical and figurative thinking of students in the process of teaching literature. No less significant is his conviction about the close connection between aesthetic perception and aesthetic feeling: “Aesthetic feeling is closely connected with sensation, with perception, with an understanding of what we call artistic measure, or the unity of content and form.”
This artistic measure is constantly present in books about classic writers, created by him in the 50s. The author, as it were, forms the reader's perception, teaches to understand the attitude of I.S. Turgenev to nature, and the main structural components of the text, and the meaning of the dialogues, and the historical flavor inherent in Turgenev's prose.
Consideration of the artistic specifics of A.P. Golubkov connects Chekhov with the study of the writer's intentions, which determined the genre features of his stories. The choice of the plot as the central link of the composition, the artistic detail as one of the main means of stimulation creative imagination reader, the reception of an unexpected and sharp denouement - Golubkov in each case emphasizes Chekhov's artistic innovation.
Interest in the word, in the methodology of writing, accompanied many searches of the scientist. In his first works, he explores the types of written work, advocates the development of figurative thinking, artistic speech, and develops a whole system of methods for conducting written work.
One of the last works of the methodologist, “The Mastery of Oral Speech” (1960), is devoted to the peculiarities of oral speech, the tasks of improving the speech of schoolchildren, and preparing the teacher himself for the lecture. Golubkov formulates the most important task: to give a psychological justification for the study of literature at school. He is concerned about the need to preserve the emotional, moral and aesthetic impact of a work on students and not to abandon analysis: “without analysis, there is no understanding of the work, and without understanding, the aesthetic impact cannot be complete.”
The most complete embodiment and systematization of the idea of V.V. Golubkov was found in the book Methods of Teaching Literature (1938). This main work of the academician not only went through six editions, but gained conceptual completeness and concreteness.
The author reveals his views on the methodology of literature, methods of studying literature, the stages of work on the topic, on erudition, the culture of oral and written speech - in a harmonious, thoughtful structure. Materials on middle and senior classes are collected in special sections. Golubkov defines the basic principle, components and order of analysis of a literary work, warning against any universal scheme or general plan study. He named the possible constituent elements of analysis: historical conditions, social problems put forward by life; writer, his views; theme and main ideological orientation of the work; main characters, secondary characters; plot of the work; other components: dialogue, portrait, landscape, introductory episodes or author's digressions, individual speech of the characters; writer's language the genre of the work; traditions and innovation of the writer; writer's meaning.
Developing a methodology for teaching literature in high school, V.V. Golubkov pays great attention to historical and literary principles, carefully examines the methodology of school lectures.
N.I. Kudryashov (1904-1981)
Nikolai Ivanovich Kudryashev, who began as a teacher in secondary schools in Kazan and at the Kazan Pedagogical Institute, from 1932 taught in Moscow. During the Great Patriotic War, he was in the ranks of the defenders of the motherland, seriously wounded. After the war, he worked as the head of the editorial office in Detgiz, since 1947 - at the Research Institute of General and Polytechnic Education, and since 1970 - at the Research Institute of Content and Teaching Methods of the USSR Academy of Pedagogical Sciences. For a number of years he headed the editorial board of the journal Literature at School.
Already in his early methodological works, Kudryashev declares himself as a teacher-researcher, paying much attention to the aesthetic education of students in literature lessons, the study of literary works, taking into account their generic specifics. One of his first large methodological manuals “On the study of the language of works of art in grades V-VII” (1951) testifies to the undoubted influence of the methodological ideas of M.A. Rybnikova, her system of creative teaching of literature in the middle classes.
Kudryashev shows particular interest in the theoretical issues of the methodology of teaching literature, setting himself the task of revealing the scientific foundations of the methodology as a pedagogical discipline. His articles On Some Topical Tasks in the Methods of Literature (1948), On the State and Tasks of the Methods of Literature (1956), and Methods of Literature as a Scientific Discipline (1959) provoke lively discussions. Speaking about the three main factors influencing the pedagogical process (the subject, the teacher and the student), Kudryashev notes the decisive importance of the student's personality in this process. The result of many years of research of the teacher was his doctoral dissertation "Theoretical Foundations of the Methods of Literature" (1971).
N.I. Kudryashev actively participated in the development of school programs and the preparation of manuals addressed to language teachers. Under his editorship and with his direct participation, a solid methodical collection “Issues of Methods of Teaching Literature at School” (1962), well-known manuals “For the Creative Study of Literature in Secondary School” (1963, 1968), “Teaching Literature in New Programs” (1970) ), "The study of literature in the IV grade" (1975).
Kudryashov's article "On the Effectiveness of Classes in Literature (On the Question of Teaching Methods)" (1970) opens a new discussion in the pages of the journal Literature at School. Detailed description of the four main methods of teaching literature, identified by the teacher based on the analysis latest research in didactics and methodology and school practice (the method of creative reading, reproductive, heuristic, research), is contained in Kudryashov's latest work - "The Relationship of Teaching Methods in Literature Lessons" (1981). The classification of teaching methods and the typology of literature lessons proposed by scientists are widely used in the teaching environment and are reflected in the methodological literature. N.I. Kudryashov also wrote the sections “Methods of teaching literature as a science” and “Methods of teaching literature” in the textbook for students of pedagogical institutes “Methods of teaching literature” (1977), edited by Z. Ya. Rez and later reprinted.
The current stage of development of the methodology of teaching literature
In the first post-war decades, various problems of the methodology of teaching literature at school were hotly discussed on the pages of periodicals. Well-known scientists, literature teachers, writers (A.T. Tvardovsky, K.I. Chukovsky, S.V. Mikhalkov, etc.) take an active part in the discussions. Some speeches contain calls for a decisive revision of the existing system of literary education. A fierce controversy unfolds in connection with the reprinting of old and the release of new textbooks on literature.
In the early 60s. At the All-Russian Congress of Teachers, the "Law on School" (1960) was adopted, work began on the creation of new programs in literature. V. V. Golubkov, who considered it necessary to restore a systematic course in literary theory, presented his own version of the program, which did not receive support. According to the genre, and not the chronological principle, philologists from Samara propose to build a course of literature in grades VII-VIII. However, the project is taken as a basis, prepared by the sector of literature of the Research Institute of General and Polytechnic Education of the APS of the RSFSR, which preserved the historical and chronological study of literary works in the middle classes and the course on a historical and literary basis in grades VIII-X, supplemented by the works of Dostoevsky, Blok, Yesenin and some others authors. There are also special extra-curricular reading lessons and extracurricular activities, the content and methods of which are gradually more and more regulated. In the 70s. a small “cosmetic repair” of the program is being carried out.
The central problem of teaching literature, the analysis of a literary work, is devoted to a number of methodological works, the authors of which express dissatisfaction with the current practice of school analysis, which does not take into account the aesthetic aspects of artistic creativity, the peculiarities of reader's perception.
An event in the methodology is the posthumous publication of the book by G.A. Gukovsky "Studying a literary work at school" (1966), which proposes to focus students' attention on text analysis based on scientific methodology. The school, according to the literary critic, should give the foundations of literary science, teach what is difficult, but accessible to students: ideological - there is no need to explain. The scientist is a resolute opponent of the dominance of analysis "by images", warns of the danger of direct convergence of literary phenomena with life, common in the practice of teaching literature.
Gukovsky's view of methodology as applied literary criticism, which was also reflected in his earlier works, caused disagreement among many language teachers. V.A. Nikolsky writes about the connection of methodology, first of all, with pedagogy. IN AND. Sorokin also calls the technique pedagogical science, but taking into account the "nature of the discipline under study".
The symposium "Problems of Artistic Perception", held in 1968 in Leningrad, played an important role in the convergence of methodology and psychology, in addressing the problem of the relationship between students' perception of literary works and the methodology of school analysis. In subsequent years, a number of works dedicated to the student reader were published.
In the 60-80s. the traditions of "educational reading" in the middle classes and the tendentious historical and literary course in the senior classes, built on the basis of the Leninist periodization of the Russian liberation movement, still prevail in the school. Lively disputes and ambiguous assessments are caused by the movement of innovative teachers. The emphasis on the educational value of works of classical and modern literature is placed in almost all methodological works published in the 60-80s.
An undoubted contribution to the development of the theory and practice of teaching literature at school is made by the latest works of V.V. Golubkov, A.M. Dokusova, N.V. Kolokoltseva, N.O. Korsta, N.I. Kudryasheva, N.Ya. Meshcheryakova, N.D. Moldavskaya, V.A. Nikolsky, S.A. Smirnova, V.I. Sorokin, works on the history of the domestic methodology Ya.A. Rotkovich, the work of modern methodologists and teachers-researchers. Methodological centers operating in Moscow, St. Petersburg, Samara, Pskov, Tula, Saratov, Kurgan, Kazan, Yuzhno-Sakhalinsk, Yaroslavl and other cities of the country are original creative laboratories for language teachers.
At the end of the 80s. changes are planned in the methodology of teaching literature, connected with the development of a new concept of general secondary education, the creation of new types of educational institutions. Versions of literature programs are published, trial textbooks are published. Disputes about the content of literary education and the methodology of teaching literature at school do not subside.
Currently, methodological science faces a whole range of problems related to the development of the concept of literary education, the creation of curricula and teaching aids of a new type. A special task of modern methodology is the return of forgotten names and traditions of the national school.
Literature
1. Krasnousov A.M. Essays on the history of the Soviet methodology of teaching literature. - M., 1959.
2. Methods of teaching literature in the Soviet school: Reader / Comp. Ya.A. Rotkovich. - M., 1969.
3. Rotkovich Ya.A. Issues of teaching literature: Historical and methodological essays. - M., 1959.
4. Rotkovich Ya.A. History of teaching literature in the Soviet school. - M., 1976.
5. Rotkovich Ya.A. Essays on the history of teaching literature in the Russian school // Izvestiya APN RSFSR. - Issue. 50. - M., 1953.
6. Russian methodologists-linguists in memoirs / Comp. V.S. Bayevsky. - M., 1969.
7. Russian teacher / Ed. N.I. Gromov. - L., 1959.
Skaftymov A.P. Teaching literature in pre-revolutionary school (forties and sixties) // Uchenye zapiski Saratovskogo gosudarstvennogo Pedagogical Institute. - Issue. 3. - Saratov, 1938.
8. Reader on the history of methods of teaching literature / Comp. Ya.A. Rotkovich. - M., 1956.
9. Chertov V.F. Russian literature in the pre-revolutionary school. - M., 1994.
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Kharitonova Olga Nikolaevna , teacher of Russian language and literature, MBOU Gymnasium named after. I.A. Bunin, Voronezh
One of the main requirements for the content of education, enshrined in the "Law on Education", is the formation of a spiritual and moral personality. The priority direction of the state policy in the field of education is a focus on universal values, education of citizenship, diligence, respect for human rights and freedoms, love for the environment, the Motherland, and the family. School course Literature, like no other subject, allows you to have a direct conversation about these main life values. Therefore, in my pedagogical activity, I pay the main attention to spiritual, moral and patriotic education.
Use of technology problem learning in literature lessons
In literature lessons, I use modern achievements in problem-based learning technology.
A scrupulous analytical conversation on the text, group and individual assignments, non-standard written work - all this is aimed primarily at the spiritual and moral development of schoolchildren. When studying works of art, the focus is on reflections on the categories that are fundamental for every person: good and evil, duty to the fatherland, to people and to oneself, responsibility for one's actions, mutual assistance, mercy, love for one's neighbor. Discussion of "eternal" themes and problems, a conversation about the social and moral foundations of society - all this is aimed at the formation of a person and a citizen, integrated into modern society, actively contributing to the improvement of this society.
To teach children to understand the beautiful and take care of the spiritual values inherited from their ancestors, to identify the humanistic content of the works of domestic and foreign classics: to comprehend faith in the saving, all-conquering power of Good, Beauty, Nobility and Mercy - such goals are a priority for me when creating lesson designs. The story of F.M. Dostoevsky's "Christ's Boy on the Tree" is studied in the context of spiritual and literary traditions. In addition to identifying the genre features of the Christmas story, the lesson examines the legends about the origin of Christmas traditions (for example, the "approval" of spruce as a tree-symbol of Christmas celebrations, the legend of the Christmas tree in paradise with Jesus Christ). “I don’t want and can’t believe that evil is the normal state of people… The main thing is to love others as yourself, that’s the main thing, and that’s all, absolutely nothing else is needed… But meanwhile, this is just an old truth that has been repeated a billion times and read ... ”- these words of F.M. Dostoevsky express the main idea of the work and help students draw a conclusion based on what they read. And the statement of Metropolitan Anthony (Khrapovitsky) that it is necessary to “learn through children” and from children can be regarded as a kind of “commandment” addressed to school mentors. The scenario of the lesson provides comparative analysis Dostoevsky's story "The Boy at Christ's Tree" and Andersen's "Christmas Story" "The Little Match Girl". “Translating” the conversation about mercy and love for one’s neighbor into a modern plan allows working with the text of A. Voznesensky’s poem “The First Ice”.
The lesson based on the short story by O. Henry "Gifts of the Magi" is called "The Wisest of the Givers" (quote from the text of the work). The lesson focuses on the pages of biblical history (materials about King Solomon and the Queen of Sheba) and their interpretation in the novel by an American author. The content of the gospel legend about the birth of the Messiah is at the center of the dialogue in the lesson. Despite the seeming seditiousness of the author's thought (the writer ironically exalted his heroes over the characters of biblical legends and the gospel magi), the ideological orientation of the work as a whole does not go beyond the Christian canons: O. Henry told readers about the "miracle" of love for one's neighbor - true love, in based on the feat of self-denial and self-sacrifice. And to convey this author's idea to the young reader is the main task of the teacher.
General distrust, suspicion, denunciation that flourished in Stalin times and encouraged by the authorities as a result of "communist vigilance", without any dissident pathos, with one stroke of the pen, were rejected by Andrei Platonov in the story "In a beautiful and furious world." The writer reminded the Soviet reader about seemingly simple things that have undergone “inflation” in the minds of the “builder of communism”: that one must always trust people and be able to lend a helping hand to one’s neighbor in time. The result of the conversation may be a written work: schoolchildren are invited to write an essay similar to Plato's, about the fate of an extraordinary person whom the children had to meet, about the influence of the "human factor" and social circumstances on the "lifeline" of the individual. A non-standard written task can also be offered to students in the course of analyzing the love lyrics of F.I. Tyutchev: compare the author's idea of the ideal relationship between a man and a woman, expressed in the poem "Predestination", with the moral lessons of the Bible ("Song of Songs").
“The Golden Age is the most incredible dream of all that has ever been ...” - a seminar on this topic is very significant in the context of studying the ideological and moral content of Russian classics in the 10th grade. The focus is on the "models" of the golden age as a vision of a world without evil and a dream of universal happiness, starting with the works of ancient authors (Hesiod, Ovid) and ending with the works of writers of the second halfXIXcentury (Goncharov, Dostoevsky, Chernyshevsky). An important component of the lesson is the consideration of utopian "models" of Christian mythology (the biblical story about paradise and its loss by the first people, the story of John the Theologian about New Jerusalem, which has become synonymous with earthly paradise and the golden age for modern man).
The analysis of the philosophical prose of A.P. Chekhov in the book are devoted to lessons on the works "Black Monk" and "Student".
Humanity and compassion are the forces that have been guiding human life from time immemorial, constituting “the main thing in human life and in general on earth,” the character of Chekhov’s novel “Student” comes to this conclusion. The main goal of the lesson is to start from specific everyday situations, to bring students to the existential aspect of the work.
The Black Monk is one of Chekhov's most enigmatic creations. The "core" of the lesson is a conversation on the text,affecting the key ideological positions of the characters: Kovrin, the father and daughter of the Pesotskys. The image of the garden is symbolic, it highlights the personal essence of the heroes of the work. Involvement in the lesson of quotes from the Bible, the Revelation of John the Theologian, Voltaire's aphorism "You must cultivate your garden", allows you to go to the parable layer of Chekhov's story. As sources of the image-symbol of the Black Monk, the lesson considers, among others, the history of the life of Jesus Christ, his wanderings in the desert, ascension and expectation of his second coming. However, the very “teaching” of the black visitor Kovrin, although it bears the “reflection” of the Holy Scriptures, runs counter to the main commandments of the Savior, to a greater extent “giving off” Nietzscheanism.
The novel "White Guard" is often called "the gospel of Bulgakov", since the writerinvites you to a serious, if not to say "global" conversation about the spiritual foundations of the individual and society as a whole. Truly, from cosmic heights, the writer looks at the agony of a dying era. The main task in the lesson is to trace the dynamics of the images of the House and the City, to show how the author captured the destructive effect of the war on their peaceful existence. The imagery used by the author allows us to correlate the City depicted in the novel first with New Jerusalem (pre-war and pre-revolutionary life), then with Babylon and, finally, with Sodom. Consideration of apocalyptic motifs (the end of the world, the Last Judgment), which permeate the figurative structure of the work, is given the main place in the system of lessons. The era of revolution and civil war is seen by Bulgakov as the apotheosis of devilry, the "signs" of which are easily identified by schoolchildren in the course of practical and seminar classes. The system of lessons on the novel is completed by a dispute on the topic "Beauty will save the world." The class is divided by the teacher into groups in advance, the students think through the arguments in favor of their position and, in the course of an open discussion in the lesson, express their own points of view on the question: with the victory of which forces: destructive, destructive or creative - does Bulgakov's novel end?
With a consideration of the anti-Soviet layer of A. Galich's songs, a lesson begins on the work of this bard, a Jew who was persecuted by the authorities of the USSR and converted to Orthodoxy in adulthood. However, his legacy is not limited to satire of the Soviet regime. In the song "Kitezh" ("Russian lamentations") the poet sees the historical distances of Russia and explores the mentality of the Russian people. Genuine devotion to the Motherland, through suffering and forever indestructible, sounds in the "Song of the Father's House", which can be considered as the main confession of the bard. The classic story about a deal with the devil served as the basis for the plot of the song Once Again About the Devil. Analysis of the text of the work allows you to have a direct and uncompromising conversation with high school students about conscience, about the “price” of truth-seeking, about choosing a life position, the need to honestly defend your life principles.
The lesson "Poetic Revelation of a People's Era" is devoted to the analysis of a fragment of the tragedy by A.S. Pushkin "Boris Godunov", traditionally studied at school - scenes in the Miracle Monastery. The focus of the lesson is the figure of Pimen, who appears before the reader as a man of great wisdom in life, an ascetic. Analyzing the text in the lesson, I rely on the work of P.V. Annenkova, M.M. Bakhtin, A.L. Bema, V.G. Korolenko (essay "Modern Impostorism"), prof. VSU B.T. Udodova, prof. R.G. Skrynnikov and introduce students to these works.
The theme of love and the problem of a person's moral responsibility for their actions are under close scrutiny in the lessons on the story by I.S. Turgenev "Asya", drama by A.N. Ostrovsky "Dowry", short story by I.A. Bunin "Dark alleys".
In lessons based on Bazhov's tales in the 5th grade, the conversation concerns the most important qualities that make up the "core" of the human personality: courage, honesty, fidelity, diligence, generosity. The writer argued: “Also, after all, tales are not invented in vain. Others - in submission, others - in learning, and there are those that are ahead instead of a flashlight. Meeting with the heroes of the "Ural magician" will certainly leave a good mark on the child's soul. Bazhov's "flashlight" will help schoolchildren choose the right path in life - the path of honor and labor.
I assign a significant place in the system of work with high school students to seminars and creative workshops, at which the focus is on a deep scientific analysis of a literary text.
Design and research technologies in my teaching practice
I give a significant place in my teaching practice to the use of design and research technology. The most gifted students engaged in scientific research under my supervision regularly present the results of their research at conferences of the Scientific Society of Students of the Voronezh state university, at gymnasium scientific and practical conferences.
I develop research projects with my students. For example,an interesting creative project was implemented upon completion of the study of the novel by M.A. Bulgakov "The Master and Margarita" Eleventh-graders who visited Moscow during the holidays actively joined in the work on the creation of the album "Bulgakov's Moscow". In the photographs, the guys captured the famous Patriarch's Ponds, where, according to the novel, Berlioz and Ivan Bezdomny met "Professor" Woland; a “bad apartment” located on Sadovaya Street in building No. 302-bis; the "Gothic mansion" in which Margarita lived with her husband and which she left after riding out on a brush; the house where Professor Preobrazhensky performed an unprecedented operation to turn a homeless dog into Sharikov (“Heart of a Dog”); "Zoyka's apartment" and many other interesting "objects" described in Bulgakov's works. All photographs were provided with the necessary comments and "supported" by quotations from the literary text. On the eve of the celebration of the 65th anniversary of the Victory in the Great Patriotic War, my students participated in the project “No one is forgotten, nothing is forgotten”: in their essays, essays, they recreated the pages of the military annals of their native land, and also talked about their grandfathers and great-grandfathers, participated in the battles for the Motherland.
In addition to the collective project activities, my students create individual scientific and creative projects: they write reviews of literary works, articles of a literary nature, compose poems, stories and fairy tales.
The best works of students, completed under my supervision, were published:
Nikitina Y. Play by M. Tsvetaeva "Snowstorm". The experience of analytical reading // Literature (Publishing house "First of September"). 1999. - No. 34. - S. 11.
Bragina A. "Language" of flora and fauna in the works of I.S. Turgenev (Based on the stories "Asya" and "Spring Waters") // Literature (Publishing House "First of September"). - 2005. - No. 18. - S. 28 -30.
Bragina A. "Language" of flora and fauna in the works of I.S. Turgenev (Based on the stories "Asya" and "Spring Waters") // "The Path to Science". Collection of works of the scientific society of VSU students. Issue. 3. - Voronezh, 2006.
Lynova Y. Poetry// Youth literary newspaper "At the Crossroads". - 2008. - No. 5.
Lynova Y. Parody of A. Blok's poem “Night. The outside. Flashlight. Pharmacy"// Youth literary newspaper "At the Crossroads". - 2008. - No. 3.
Volkova A. Holidays of the Behemoth // Young Communard. - 2008. - No. 48.
Volkova A. “I will rise again and sing…” Igor Talkov's song creation//Semenovsky Bulletin. – 2007.
Lynova Yu.The legend of the stone guest in the interpretation of A.S. Pushkin and Lesia Ukrainka. // "The Path to Science". Collection of works of the scientific society of VSU students. Issue. 4. - Voronezh, 2011.
Konivets A. Follow Alice to a strange world! Review of the book by L. Carroll "Alice in Wonderland" / / f. "Reader". - 2011. - No. 11.
Konivets A. Follow Alice to a strange world! Review of the book by L. Carroll "Alice in Wonderland" / / f. "Bonfire". - 2012. - No. 1.
Seleznev N. Chest in the swamp. Fairy tale // w. "Bonfire". - 2012. - No. 10.
Chernysheva O.Towards the holiday of Samuil Marshak (Article dedicated to the 125th anniversary of S.Ya. Marshak)// and. "Bonfire". - 2012. - No. 10.
Krakhmaleva A., Telnova I. Two songs by V. Vysotsky on Pushkin's plot// Collection of abstracts of research papers of students within the framework of the All-Russian festival of research and creative work of students "Portfolio" Publishing House "First of September". - Moscow: "First of September", 2012.- P. 210.
Dolzhikova E. The image of lilac in the works of Russian writersXIXcentury// Collection of abstracts of research papers of students within the framework of the All-Russian festival of research and creative work of students "Portfolio" Publishing House "First of September". - Moscow: "First of September", 2012. - P. 222.
Kuznetsova E. The symbolism of the rose in the fairy tales of G.-Kh. Andersen // Collection of abstracts of research papers of students in the framework of the All-Russian festival of research and creative work of students "Portfolio" Publishing House "First of September". - Moscow: "First of September", 2013.
Seleznev N. Journey to tomorrow//Collection of competitive works of children of the Information Center for Atomic Energy. - Voronezh, 2013.
Chernysheva O. Journey to tomorrow // Collection of competitive works of children of the Information Center for Atomic Energy. - Voronezh, 2013.
Krakhmaleva A., Telnova I. "Song" and "Song" about the prophetic Oleg: A.S. Pushkin and V.S. Vysotsky// Collection of abstracts of research papers of the participants of the scientific-practical conference of the VSPU. - Voronezh, 2013.
Chernysheva O. Talented and wise (to the 105th anniversary of the birth of L. Panteleev) // Zh. "Bonfire". - 2013. - No. 8.
Borisova V. The most important thing in the world (review of the book by J. London "White Fang") // Zh. "Bonfire". - 2013. - No. 7.
Varenikov A. Wise advice of a good writer (to the 95th anniversary of B. Zakhoder) // Zh. "Bonfire". - 2013. - No. 9.
Grabovskaya Y. "Where is it seen, where is it heard!" // and. "Bonfire". - 2013. - No. 8.
Grabovskaya Yana. Fanfic "Monkey andiPhone» // Website of the publishing house "Pink Giraffe" (Promotions, Fanfiction) - P. 32.
Seleznev N. To the 100th anniversary of the birth of Tove Jansson / / f. "Bonfire". - 2014. - No. 9. - P. 16.
Game technologies in the classroom and during extracurricular activities
For many years I have been dealing with the problem of stimulating the cognitive and creative activity of students in literature lessons. In my opinion, this problem is especially relevant today, as students read less and less works of classical literature. Various non-standard forms of lessons help me arouse interest in reading, identify and develop the creative abilities of students.
In my teaching practice, I actively use gaming technologies.
The purpose of using gaming technologies in the educational process (and in particular in literature lessons): 1)increase the motivation of participants in the educational process;2) to form a persistent cognitive interest in the subject being studied; 3) stimulate the creative activity of students.
The non-standard, playful form of the lesson creates a situation of psychological looseness in class, thereforeorganization of games is often capable ofprovide a deeper insight into the literary material than a regular lesson. Thanks to games, the natural happens, without coercion.introducing schoolchildren to the world of moral and aesthetic valuesfeatures of literary classics.
The use of gaming technologies allows us to solve the following tasks:
1) systematization and consolidation of knowledge, skills; 2) acquisition of new knowledge, skills, abilities; 3)the formation of an attentive attitude to the artistic detail and its role in the ideological and figurative structure of works; 4) development of speech and creative abilities of students.
I have developed and tested in practice55 original scenarios of intellectual tournaments for students of the middle (grades 5-9) and senior (grades 10-11) based on the works of Russian and foreign literary classics.
Each script is timed to a specific topic, dedicated to a particular work of verbal art and represents a "cascade" of intellectual tasks of a controlling and teaching nature. The books written by me will help teachers to systematize information on the “passed” topics, to check the skills acquired in the study of program works. Thus, the use of gaming technologies in literature lessons is aimed primarily at developingreading competence.
The integration of the arts is a powerful means of influence. The use of the means of music and painting, designed to awaken not only the thought, but also the aesthetic sense of the pupils, helps to increase the productivity of classes.The use of gaming technologies also allows us to solve an important problem of developmentgeneral cultural competence.
An organic component of the games are a variety of creative tasks, the purpose of which isstimulate intellectual growth personallysti,createopportunities for selfexpressions of each student.
Non-standard written tasks contribute to the developmentspeech competence of students.
The secret of the successful organization of the game lies in the fact that this type of activity, while performing certain didactic tasks, at the same time gives children great joy, allows them to gain a positive experience of communicating with their peers and thus, while maintaining the spirit of healthy competition and competition, strengthens friendship in the class team.
Types of game tasks , which I use in my learning activities:
Test tasks.
Working with fragments of works of art where factual errors are intentionally made. The task of students is to find and correct them.
Working with quotations that deliberately omit significant details, key words in the statements of characters. The task of the students is to fill in the gaps in the quotes or continue the phrases.
Auction of aphorisms.
Solving crossword puzzles.
Various types of quizzes:
Traditional quizzes (a series of questions that require short unambiguous answers), which can be both thematic in nature and include heterogeneous material;
- recognition of a literary character in three stages;
The choice of an object from a number of homogeneous;
Search for an "extra link";
Filling out the questionnaire of a literary hero;
- "interview" with a literary hero
Imaginary press conference of a literary hero.
Types of creative tasks that I use in my lessons:
Correspondence tour of literary places.
An imaginary trial of the characters in the works.
Monologues of a creative nature, for example, speaking at an imaginary conference, preparing abstracts for a scientific report.
Mini-discussion on a given topic.
Non-standard written works
Letter to a literary hero;
Creation of inserted episodes in a work of art;
Composition of remarks;
Reconstruction of diary entries of literary heroes;
Drawing up scripts for clips for romances on a classical text;
Writing articles for the newspaper;
Creation of literary parodies.
At such lessons there can be no place for boredom, empty edification, idle praise, for these are lessons of search and discovery, lessons of empathy and co-creation.
Experience in implementing gaming technologies in educational process I have shared in the following publications:
1. Kharitonova O. N. Intellectual games in literature lessons. - Voronezh: VOIPKRO, 1996. - 70 p.
2. Kharitonova O. N. Entertaining literature. Games and quizzes: For grades 5-9. – M.: Rolf, 2002. – 224 p. - (Attention: children!)
3. Kharitonova O. N. Intellectual literary games for students in grades 10-11. - Rostov-on-Don: Phoenix, 2005. - 252 p. (Hello, school!).
4. Kharitonova O.N. Collection of literary games for students in grades 5-9. - Rostov-on-Don: Phoenix, 2010. - 349 p. - (Teacher's Library).
5. Kharitonova O.N. Collection of literary games for students in grades 10-11. - Rostov-on-Don: Phoenix, 2010. - 349 p. - (Teacher's Library).
6. Kharitonova O.N. Teaching with passion: creative literature lessons at school. Rostov-on-Don: Phoenix, 2011. - 348 p. - (Teacher's Library).
Collections of literary games participated in the All-Russian competition "For the teacher's moral feat" (nomination "The best publishing project of the year") in 2010 and were awarded 3rd place in the regional stage. For the book "Teaching with Passion" I was awarded the title of winner (1st place) in the regional stage All-Russian competition"For the moral feat of the teacher" (nomination "The best publishing project of the year") in 2011.
Now I am actively developing electronic versions of literary tournaments. There are currently 20 created.
Technology of conducting educational discussions in literature lessons and after school hours
The main goal of training at the present stage is the self-development of students as individuals. In this regard, I see one of my main tasks in creating conditions for the realization of the creative potential of each student and the improvement of his individual abilities. Dialogic forms of education, in particular debate and discussion, can serve as an effective means of achieving this goal. It seems to me important to teach schoolchildren to compare different interpretations of literary works, to develop and justify their own point of view,listen to the opponent, show tolerance for a different opinion.
I will give specific examples of the application of this technology in literature lessons.
The final lesson on the novel by M.A. Bulgakov's "White Guard" takes the form of a dispute.
- In the novel, the symbolic duel between Venus and Mars ends with the victory of which side?
The search for an answer to this fundamental question for the artistic conception of the work is the "core" of this lesson. When preparing for the lesson, I ask the students to unite in two groups, relatively speaking, “Martians” and “Venusians”. Each group receives preliminary homework to select textual material, to think over arguments in favor of "their" side. The teacher recommends to the eleventh graders which episodes should be paid attention to.
Material for preparing for the lesson for a group of students No. 1
Mars: war, chaos, death
1. The funeral of the victims of the massacre in Popelyukh (part 1, ch. 6).
2. Depiction of Jewish pogroms in the novel (part 2, ch. 8; part 3, ch. 20).
3. "Hunting" for people on the streets of the City (on the example of the flight of Alexei Turbin) (part 3, ch. 13).
4. Conversation between Vasilisa and Karas (part 3, ch. 15).
5. Church service in St. Sophia Cathedral during the "reign" of Petlyura (part 3, ch. 16).
6. Arrival of the armored train "Proletary" at the Darnitsa station (part 3, ch. 20).
Material for preparing for the lesson for a group of students No. 2
Venus: peace, beauty, life
1. Alexey Turbin and Julia Reis (part 3, ch. 13).
2. Three meetings of Nikolka Turbin (part 2, ch. 11).
3. Dinner at the Turbins (part 3, ch. 19).
4. Elena's dream and Petka Shcheglov's dream (part 3, ch. 20).
5. "Starry" landscape at the end of the novel.
Representatives of the disputing parties alternately “take” the floor. The teacher guides the discussion, of course.
The final lesson on the story of I.S. Turgenev "Asya" is dedicated to comparing reviews of this work by contemporary literary critics. In our opinion, it is advisable to recommend to various groups of students to independently familiarize themselves with the articles by N.G. Chernyshevsky "Russian man onrendez- vous"and P.V. Annenkov "On the literary type of a weak person", as well as with the position of the modern literary critic Yu.V. Lebedev - the author of a book about Turgenev from the series "The Life of Remarkable People" (publishing house "Young Guard"). The vocabulary teacher asks students to prepare oral reports based on the following questions:
1. What positive and negative aspects of the character of the protagonist are highlighted by the critic?
4. Do you agree with the position of the critic? Justify your opinion.
If the class is not very strong, the teacher can make a selection of quotations from Chernyshevsky and Annenkov's articles and give students the necessary material for preliminary review. The lesson reveals the essence of the position of the authors of the articles: for all the opposite opinions of Chernyshevsky and Annenkov, both critics agree on the definition of the main contradiction in the character of the hero - the contradiction between thought and its implementation. The vocabulary book reminds students of Gagin's words about "damned Slavic debauchery." It was in this trait of the national character that both Chernyshevsky and Annenkov saw the main root of evil. The researcher Yu. Lebedev refused any accusations against the hero of the work. According to the scientist, it’s not the moral inferiority of Turgenev’s character that is to blame, but the wayward power of love: a feeling for Asya flared up in the hero’s soul a few moments after the date, love was late - and happiness turned out to be unattainable, and life was broken.
The eighth-graders' reports in the lesson are followed by a discussion, the focus of which is on two questions:1) What, in your opinion, is the fault and misfortune of the main character of the story? 2) What is your attitude towards the hero?
The organization of a scientific discussion is a productive activity at one of the stages of the lesson. So, at the lesson on the story of N.V. Gogol's "Overcoat" I quote the judgment of I. Zolotussky:“The overcoat itself in the story is not a wardrobe item, but something alive, the wife, girlfriend of Akaky Akakievich, a creature that warms him not only literally, but also figuratively ...” [Zolotussky I.P. Gogol. – M.: Mol. guard, 1979. - (Life of remarkable people. A series of biographies. Issue 10). - P.295.] Next, I announce in class tournament of young literary critics and I propose, after some deliberation, to make a short scientific report on the topic: “What did the overcoat mean in the life of Akaky Akakievich?” When preparing a message necessary condition is the choice of the proposed concept: 1) girlfriend of life; 2) the purpose and meaning of existence; 3)idé efixe. Each "literary critic" works with only one concept - the one that "got" him as a result of the drawing of lots, or the one that he chose of his own free will.
At the final lesson on the story “The Overcoat, you can organize, for example, such a mini-discussion. The outstanding modern literary critic J. Mann wrote in his famous monograph “Gogol’s Poetics”: “The epilogue in The Overcoat is fantastic.<…>In the fantastic epilogue, the action develops in contrast to the by no means fantastic, “poor story”…” [Mann Yu. V. Gogol’s Poetics. – M.: Artist. Lit., 1988. - S. 98.]
Dispute questions:1. For what purpose did Gogol come up with a fantastic continuation of the story about the poor official Bashmachkin? 2. Is Gogol's statement fair, in your opinion: "... a fantastic direction does not prevent history from being completely true to the end"?
The teacher alternately gives the floor to those wishing to express their opinion. An organic continuation of the discussion can serve as a homework of a creative nature:
The hero of the novel F.M. Dostoevsky's "Poor People" Makar Devushkin proposed a "scenario" of a development of events other than Gogol's: "And it would be best not to leave him to die, poor fellow, but to make sure that his overcoat is found so that that general, having learned more about his virtues, would ask him again to his office, promote him in rank and give him a good salary, so, you see, how it would be: evil would be punished, and virtue would triumph, and the office comrades would all be with nothing and stayed. I would, for example, do this; and what is special about him, what is good about him here? So, some empty example from everyday, vile life. What final would you guys like to see? Tell about it.
During extracurricular hours, I organize collective screenings of film adaptations of literary works, followed by a discussion. The "mandatory" part of the discussion program is a comparative analysis - the identification of similarities and differences between cinematographic and literary-textual material. However, it is necessary that students understand the following: it is not just a matter ofwhat there So, and here otherwise . It is important that children realize something else: in the name of what certain changes are made. I will not touch on the question of the legitimacy of shifting emphasis at the director's will (although the goal of such “opuses” is usually to “modernize” the classics, bring it closer to the viewer of our days). Now the conversation is completely different. Comparison of a literary work and its film version is important because it allows you to take a fresh look at the classical text, to discover in its artistic system such layers that before, before watching the film, could go unnoticed.
I will cite as an example the film by S. Solovyov "The Stationmaster". Let us recall the episode when Vyrin, who arrived in St. Petersburg, sought out Minsky, and the latter offered his father a “ransom” for his daughter who had been taken away. Pushkin's Vyrin "woke up" self-esteem: he threw on the sidewalk and trampled down the banknotes received from the offender. In Solovyov’s tape, there is no moment of “trampling” money, but something else is present: Vyrin, after an unsuccessful visit to Minsky, goes to church, because, apart from God, the little man has no one to seek intercession from. The director showed an unfortunate father who became a victim of the "costs" of the social system. The Church, the Orthodox faith is the hero's only refuge. In Pushkin's story, everything is different: despite the fact that pictures on the plot of the scripture adorn the walls of the dwelling, the characters are practically outside the bosom of the church. Dunya, we remember, went to Sunday mass, but, as it turned out, she “was not at the service.” Her relationship with Minsky is a direct violation of one of the ten commandments: "Do not commit adultery." Pushkinsky Vyrin, following his daughter's footsteps, "hurriedly entered the church" only to ask the deacon about Dun. And the “last will” of a fading parent in relation to his daughter is completely inconsistent with the Christian idea of forgiveness: “Whether she is alive or not, God knows ... Involuntarily you will sin and wish her a grave ...” The motive of delusion that prevails in the story is thus realized at the plot level : the heroes are on the wrong path, the church could help them to take the true path, but the paths of their lives pass by the holy monastery.
It is interesting and fruitful to compare the "old" and "new" adaptations: for example, "A Hero of Our Time" by S. Rostotsky and A. Kotta; "The Captain's Daughter" by V. Kaplunovsky and the tape by S. Ovcharov "Russian Riot"; "Snegurochka" by P. Kadochnikov and "Spring Tale" by Y. Tsvetkov; " dead souls» L. Trauberg based on Bulgakov's script with the television series by M. Schweitzer.
In my opinion, the use of film fragments as an "artistic accompaniment" of the discussion is very productive. So, an integral part of one of my lessons on the novel "The Master and Margarita" is a mini-debate. The following questions are written on the board: 1)Levi Matthew said about the master: "He did not deserve light, he deserved peace." Why, in your opinion, was such a place assigned to the hero in eternal life? 2) Do you agree with this decision of higher powers?After watching a fragment of the film by V. Bortko(Episode 9: a conversation between Woland and Levi Matvey on the terrace of Pashkov’s house, starting from Woland’s words: “Well, speak briefly, without tiring me, why did you appear?” - and ending with the phrase of the same character: “Without you, we would never have guessed about this. Go away")I give the children the opportunity to freely express their opinions on the issue raised. At the lesson dedicated to the image of Margarita, we also looka fragment of the film (episode 7: Margarita's dinner at Woland's, starting from Margarita's words: "Perhaps I have to go ... It's late," and ending with Woland's phrase: "Ah, that's understandable."). After that, the discussion of “debatable” questions begins: 1) How do you assess the choice made by Margarita in favor of Frida? 2) What qualities of the heroine are shown in this episode?
Finally, I would like to say a few words directly about the organization of the discussions. In order to increase the productivity of this form of organization of the educational processstudents should be familiar withscientific dispute rules. At the stage of preparing a lesson-discussion, the main role of the teacher is to advise students.During the discussion, the behavior of the teacher should be correct: the teacher should not interrupt the speakers; it is necessary to intervene in the course of the discussion only if the speaker has significantly deviated from the topic of the speech or unnecessarily “dragged out” the speech.At the same time, the teacher should direct the course of the discussion, bringing its participants closer to the formation of a common position on the problem under consideration. It is also necessary to ensure that
the discussion did not develop into an interpersonal conflict.
In conclusion, I note that the use of technology for organizing educational discussions contributes to the formation and development of the following competencies:value-worldview, reader, speech, communicative, sociocultural. The use of this technology is aimed at developing such skills as: 1) the ability to listen, understand and respect the point of view of another person; 2) the ability to critically comprehend the information received; 2) the ability to develop their own point of view on the problem; 3) skill public speaking with a monologue statement; 4) the ability to correctly criticize an ideological opponent; 5) the ability to correctly express and argue a point of view in a dialogue; 6) the skill of oral citation of a work in the course of a debate.
References
Zolotussky I.P. Gogol. – M.: Mol. guard, 1979. - (Life of remarkable people. A series of biographies. Issue 10).
Mann Yu. V. Gogol's Poetics. – M.: Artist. Lit., 1988.
Gurskaya O.V. Discussion as a form of organization of the educational process and development of communication skills of students in history lessons /http://www.kultura.eduhmao.ru/info/1/3796/83714/
Jan 31 2013
The October Revolution of 1917 is perceived with hostility by many linguists, but most of them continue to work in the new conditions, using old programs and textbooks. Some former delegates of the First All-Russian Congress of Philosophers take part in the development of curricula, introduce, sometimes under the slogan of restructuring the school, their ideas into teaching practice. The 1920s became a time of interesting methodological searches, countless experiments in pedagogy and methodology.
Many philologists, not having time to keep track of the change of attitudes and the flow of innovations, are in some confusion. Others find a way out in various forms of extracurricular work, officially encouraged and representing relative freedom in the choice of literary material and work methods.
In the "Curriculum for Russian Language Classes in a Labor School" (1918), the "labor method" is promoted as the main teaching method, aimed at educating students in an active attitude to the world around them and preparing them for their subsequent work activity. The teacher is given the right to independently choose literary material, the plan indicates only the main directions in the work - ethical and aesthetic analysis of the work, expressive reading, analysis of the language and form of the work, development of students' speech, education of aesthetic taste and creative abilities. Various forms of extracurricular work are also recommended, students are introduced to the technique of conducting a meeting, disputes, oratory, etc.
In the first versions of the curricula, the former division of the course into reading individual works in the lower grades and the history and literature course in the upper grades is retained. Literary critics V. A. Desnitsky, V. L. Lvov-Rogachevsky are preparing their own versions of the programs. According to the thematic principle, it is proposed to distribute the material by S. I. Abakumov, M. A. Rybnikova.
At the end of 1921, a congress of teachers of the native language and literature opens in Petrograd, at which the “social activists” and “esthetes” continue their dispute. P. N. Sakulin's report "Theoretical prerequisites for a literary course" expresses the idea of the equal importance of the two main methods of studying a literary work in school - immanent and sociological. The position of the formal school is defended in his report "The Tasks of Poetics" by V. M. Zhirmunsky. The report of N. L. Brodsky "The Stylistic Study of Literature" offers a combination of different methods for studying a literary work: "from intuition through style to historicism."
An attempt to take into account the achievements of different schools in literary criticism was the "Program for the I and II stages of the seven-year unified labor school" (1921), developed under the guidance of P. N. Sakkulin. In the lower grades, the compilers of the program build a course on the problem-thematic principle, highlighting three main "spheres of poetic creativity: the intimate heart, social reality and philosophical quest." Teachers are offered four options for in-class reading lists. The first takes into account the "prevailing interests of students", in the second the works are arranged according to the thematic principle, in the third the social, thematic and genre principles are combined, and the fourth could become the basis for studying "a strictly thought-out course of poetics". In the senior classes, a traditional historical and literary course is recommended, supplemented by the works of Radishchev, Herzen, Saltykov-Shchedrin, G. Uspensky and Gorky. The authors of the program, paying tribute to the time, note the primary importance of the “Marxist method”, however, in constructing a literary course and in their recommendations, they rely on the traditions of academic literary criticism and methodology.
The compilers of the so-called "complex programs" developed on the basis of the recommendations of the scientific and pedagogical section of the State Academic Council (SUS) (1925) are destroying the traditions more decisively. The new programs, according to the head of the section N. K. Krupskaya, are designed to help students "embrace modernity in a Marxist way." They are based on the idea of integrated education, which was positively received in the People's Commissariat of Education and approved by the Central Committee of the All-Union Communist Party of Bolsheviks. how an academic subject loses its independent significance, and literary works turn into illustrations for complex social science themes "City", "Village", "Capitalism and the working class", "Struggle and emancipation of the working class", etc. The program carefully developed the main directions independent “literary research work on life material”, as additional tasks, exercises aimed at developing aesthetic taste, analyzing the form and language of the work are offered. The Russian classics, especially the lyric ones, clearly did not fit into the complex, but modern domestic and foreign literature, books by proletarian writers, are more widely represented than ever. As illustrations for certain topics, excerpts from the works of E. Zola, A. France, A. Barbusse, E. Verhaarn, D. London and other foreign authors are recommended.
Literary specialists meet the GUS program sharply negatively. V. V. Danilov, I. P. Plotnikov, K. S. Spasskaya, and other teachers defend the independence of literature as an academic subject. Many philologists consciously deviate from the program and work according to their own plans. Even supporters of integrated learning, who highly appreciated the focus of the new program on the active assimilation of knowledge by students and the development of their independence, could not hide their confusion. One of the teachers describes his work experience as follows: “As an object of literary knowledge, secondary and even tertiary writers emerge from the literary bottom, and stars of the first magnitude remain outside the field of observation and study (for example, which you can’t fasten to either a handicraftsman or a factory)” .
The leaders of the People's Commissariat of Education also note the shortcomings of integrated programs. In the new program (1927), prepared with the participation of literary critics, the main place is occupied by works of Russian and foreign classics. Literature again becomes an independent academic subject. The course of literature in high school is built on the basis of the historical and literary concept of V. F. Pereverzev, who explained all the elements of the style of a work of art by the class existence of the author, but at the same time took into account the specifics of artistic creativity and denied the ideological nature of literature and the connection of literature with politics. The program, drawn up in the spirit of the old academic traditions, did not include the works of revolutionary democrats, nor did it provide for the obligatory study of modern literature.
In 1929-1930s. a discussion unfolds about the “Pereverzev school”, accused of revising Marxism, the works of P. N. Sakulin and other literary scholars and methodologists who deviate from the Marxist-Leninist methodology are criticized. The school is faced with the task of strengthening the ideological and educational orientation of the educational process.
The “Project of New FZS Programs” (1931) is based on the “project method”, which leads to the abolition of the class-lesson system and to the next experiments in teaching literature, which again turned into an illustration of social science topics and one of the means of “agitation for the five-year plan”. The main place in this program is occupied by the works of Soviet writers. Russian classics are presented sparingly and only "in order of contrast with modernity."
The idea of “comparison of what is depicted with reality”, put forward in the works of V. I. Vodovozov, finds its logical conclusion and takes on completely caricature forms in the method of “verification with reality” described in the book by E. N. Petrova “and literature in a polytechnic school of an advanced type "(1931). gives an example of "elaboration" according to the method of projects "The Stories of the Supervisor" by A. A. Karavaeva. After reading the text, students try to understand the reasons for the marriage produced on the machine, but "an artistic description is not enough." It is not possible to solve the problem even after the drawing is made. And only after an excursion to the workshop, the “nail of the story” is clarified - the reason for the marriage in production.
Need a cheat sheet? Then save - "Methods of teaching literature in the first post-revolutionary years. Rybnikova, Golubkov, Kudryashov - Part 1. Literary writings!Plan
1. Essence of expressive reading
2. Exercises for teaching expressive reading according to the method of M.A. Rybnikova
3. Outline of the lesson on teaching expressive reading
1. Expressive reading permeates all the activities of both the teacher and the student in the process of studying literature
According to Rybnikova M.A., the expressive reading of the teacher usually precedes the analysis of the work and is the key to understanding its content. The expressive reading of the student concludes the process of analysis, sums up the analysis, and practically realizes the understanding and interpretation of the work. And if students read dispassionately, thinking ... only about the formal side of reading, not imagining the pictures they are talking about, that is, they simply “pronounce the words,” then what can we say about the impact of the artistic word on their feelings, about understanding and their interpretation of the poetic text?
The performance should aim to pronounce the text with the maximum transfer of the theme of the work and its ideological concept, M.A. Rybnikova believes. Reading should correspond to the style of the work, its genre features; this performance embodies in the voice the logical and syntactic melody of speech, the music and rhythm of the verse, this or that structure of prose. This performance must comply with the rules of literate pronunciation, what is called orthoepy; it should be, of course, loud, clear, conveying the sounding word to the listener with complete clarity.
The usual shortcomings of children's speech - lack of loud and clear speech, basic errors in pronunciation - are overcome by elementary school. The best elementary school teachers teach to highlight logical stresses, pause, teach to read poetry, learn fables by roles - all this is perceived by children with great sensitivity and contributes to a better setting of literary reading at its first steps in grades III-IV.
Work on an expressive word is formalized in a number of special lessons devoted to reading or telling a text, but, in addition, the teacher observes the pronunciation, phrasing and intonation of students at each lesson. Mistakes in pronunciation are corrected: not youth, but youth, not percentage, but percent [e] nt, not etoT, but this one, not poetry, but poetry, etc.
In schools where any local pronunciation is observed, it is given special attention. This work on orthoepy is long, constant and persistent. For reference, the teacher can use the dictionary, ed. D. N. Ushakov, where each word is stressed.
Each answer, quotation from a poem, grammar example should be given in the corresponding voice presentation. “Don't rush, speak loudly, clearly. Say it again, say it so that everyone can hear and understand you. Everything that can be said from memory should be said without a book, by heart, since oral speech is more natural, livelier, simpler, and therefore more expressive. Citing a quote, the student will repeat it without a book, by heart. Riddles, proverbs that are worked on in the class - all this is material for polishing diction and for the culture of live intonations.
The teacher himself, his manner of speech, his expressive word, his story, his recitation of poetry - all this is a constant example for students. And therefore, the teacher must speak loudly (but not loudly), clearly and clearly (but lively), emotionally (but without nervous pressure and with the minimum amount gestures). As soon as the opportunity arises, the philologist should recite the verses by heart; allowing students to memorize, the teacher should not relieve himself of this task. It makes an exceptional impression on the class when a new poem comes to the ear from the lips of the teacher, and not from the book. This tenfold attention, this tangible experience of what is happening in the story!
So, first of all, everyday attention to pronunciation, to the clarity and clarity of the word, to the liveliness and simplicity of speech.
And secondly, a system of lessons devoted to the expressive reading of poetry and prose, class choral performances, and telling fiction.
The expressive reading of the teacher usually precedes the analysis of the work and is the key to understanding its content. The expressive reading of the student concludes the process of analysis, sums up the analysis, and practically realizes the understanding and interpretation of the work.
Students must come to the conclusion that to read expressively means to voice the idea and theme of the work.
Moreover, not every student is able to immediately grasp the tonality of the work and express her in voice. You have to work on this.
According to Rybnikova, the first and main task of a literature teacher is to interpret the inner content of a work, to identify the theme, the subject of the image, and most importantly, to identify the author's attitude to the subject of the image (anger, delight, irony, calmness, gaiety, sadness, mockery, admiration).
According to the method of M.A. Rybnikova:
Theoretical information
1. According to the technique of speech. The requirements that the art of reading makes for breathing, diction, orthoepy.
2. According to the logic of reading. logical breaks. Their duration and nature (quality). Logical stresses and methods of their practical implementation. The combination of voice power, pitch and duration in stress. Pace. Rhythm. The ratio of logical and rhythmic pauses. Types of rhythmic pauses (between verses, caesuras, leims).
3. P about emotional-figurative expressiveness. Visions. Destination. Position. Pose. Empathy. verbal action. Pauses: psychological, initial, final.
Practical skills
1. According to the technique of speech. Breathe imperceptibly. Often, but not frequently. Skillfully use pauses for additional (replenishment) air. Read clearly, distinctly (do not swallow sounds, do not nasalize). Observe the rules of orthoepy.
2. According to the logic of reading. Master the "six levers": louder - quieter, higher - lower, faster - slower. Master the ability to "read punctuation marks." Perform various tasks to determine the place and nature of pauses in a poetic text, as well as to determine the quality logical stresses and their practical implementation in the process of expressive reading.
2. Exercises for teaching expressive reading according to the method of M.A. Rybnikova
In order to learn expressive reading, exercises have been developed through which the teacher must guide students, raising attention to sound, to a word, to a sentence, to a paragraph, cultivating clarity and clarity of pronunciation, sonority and flexibility of voice, sensitivity and demandingness of hearing. In addition to the lessons of comprehensive literary analysis and pronunciation of the work as a whole, it is necessary to devote time, at least 5-6 hours a year, to special classes in pronunciation techniques.
For example.
Undeveloped, fuzzy speech is characterized by blurring of sounds, unclear diction, insufficient identification of consonants and vowels. Work on speech should set as its task the development of phonetic clarity. The attention of the grammar course to the study of the sounds of Russian speech should be used by the teacher not only for the purposes of spelling, but also for the needs of expressive speech, for orthoepy and diction.
For this purpose, works of oral folk poetry are good:
Riddles, proverbs, tongue twisters. The riddle is often onomatopoeic, we reveal this onomatopoeia in pronunciation:
The priests fought, the priests thrashed, they came to the cage, hung themselves. (Chains)
You need to pronounce, emphasizing the labial sounds b, p, a also chiseling out the onomatopoeic rhythm of the riddle (threshing rhythm).
The pike walks along the backwater, looking for the pike for the warmth of the nest, where the grass would be thick for the pike.
A whistling u stands out, transmitting the sound of mowing.
Blackie, tanned, where did you go?
Shut up, twisted-twisted, you yourself will be there.
This conversation of a pot with a tong is based on the reproduction of shuffling sounds: cast iron touches under the stoves, water hisses on the hot edges of cast iron, fork shuffling along the walls of cast iron. Pronunciation highlights hissing sounds. Here are a few proverbs built on sound writing (already not on sound dragging);
The jester joked a joke: he stole a shushun and a fur coat. They gave the hungry Melania pancakes; she says baked wrong
(la-lo-ala). With the same sound combinations, the riddle about cabbage:
A patch on a patch, but there was no needle.
Small forms of artistic speech, showing high sound skill, are pronounced several times in the class; children learn clear and sonorous pronunciation, listen to sounds and syllables, go through a school of artistic phonetics. This is the work of the 5th class, and mainly at the beginning of the year.
It is desirable that children know even in elementary school that the language has verbs, interjections, onomatopoeic nouns: bang, bang, buzz, meow, assent, cuckoo, tarataika, balalaika, drum, stomp, thunder rumble, etc. .
But even in the fifth grade, it is desirable to once again dwell on this phenomenon of speech, because poetic language always and everywhere uses this linguistic material for its own purposes.
Cheerful crackling The flooded stove cracks. Bell "ding-ding-ding... Etc.
This work on the sounding word gives a resonance at all subsequent stages of communication with the artistic word.
Reading "Demons", students convey the whirling of a blizzard, the obsessive repetition of sounds, they consciously work on diction:
Clouds are rushing, clouds are winding I'm going, I'm going in an open field
Invisible moon Bell ding-ding-ding
Illuminates the flying snow, Scary, scary involuntarily
The sky is cloudy, the night is cloudy. Amid the unknown plains!
And the consonance of the epithet with the word being defined, at least in the poem "Mower": paternal blood, a new scythe, a native village, to the Black Sea.
Or this example:
Their swarthy hands sometimes raised, And their black eyes sparkled from there.
Leaves with a rattling key do not whisper 1.
Observation of a sounding word poses an acute question for students about the presence of labial, hissing, soft and hard sounds, about the difference in style and pronunciation (the Black Sea, black
A skilled teacher in expressive reading lessons will increase students' interest in language, phonetics, morphology and syntax; this new approach to speech for students will give its results in grammar lessons.
Along with observations of the sonority of an epithet, it is necessary to capture the sonority of a line or phrase:
And he went swaying like a shuttle in the sea,
Camel after camel, exploding sand.
And the horse reared up at times
(In the last line, a difficult-to-pronounce combination of pr, br, p.)
After all, it should not be seen, but heard. Moreover, the poet often puts especially significant words under the emphasis of rhyme:
Our governor
He was fat in his family,
Yes, not in the family was simple.
Are you not us for the winter on sheepskin coats
Allowed him to collect a light quitrent from the sheep?
And what do they shout, so sheep are stupid.
Or another example:
The whole room is illuminated with amber brilliance. Cheerful crackling The flooded stove cracks.
Rhyme does not always take on logical stress, but if it does, then the sound effect must be able to be used. _
So, the first type of exercise is the perception and pronunciation of sound. At the same time, the aim of the work is a clear reproduction of the word as a sound combination and a clear reproduction of the speech link in its artistic sound function. It can be an imitation of the sounds of reality: “Fuck! tah! tah! ”- rushed over his head, fell under the cart and exploded -“ Rrra! (Chekhov. "Steppe"). It can be just a sound recording, a combination of consonants (alliteration) or vowels (assonance), a combination of a purely "musical order", which only indirectly characterizes the picture:
And he jumped like a leopard struck by an arrow.
The next section of the work is the allocation of logical stress in the sentence.
We start in the 5th grade with well-known simple exercises.
The teacher writes a sentence on the blackboard: “Ibrahim returned from Paris to Petersburg. And asks one question after another:
Who returned from Paris to Petersburg?
Did Ibrahim return from Paris to Petersburg?
Where did Ibrahim return to Petersburg from?
Where did Ibrahim return from Paris?
Each of the four complete sentences, exactly the same in the text, must answer the question by emphasizing the desired word.
Similar exercises should be repeated (they also have a place in elementary school) and students should be taught to hear logical stresses, as well as to give them with their voice.
Having clarified with the students the presence of logical stresses on examples of individual sentences through questions and voice exercises, the teacher proceeds to highlight the logical stresses in some simple text.
Having trained students on the simplest examples, it is possible to show cases of more complex stress arrangements. This should include a common case of accentuation of homogeneous members of the sentence:
Noting logical stresses, highlighting them with a voice, emphasizing in notebooks according to the text copied from the book, students learn to conduct a preparatory analysis of the text in the language of syntax; the student learns to speak about the allocation of the voice of the subject, predicate, addition, definition, depending on the general theme of the poem and on the construction of the phrase.
The work on logical emphasis is closely connected with the work on the pause. We maintain the V class mainly on a simple sentence and use for this purpose with m and x and in which the pause is emphasized mainly by the end of the line:
Near the seaside, a green oak;
Golden Chain on Oak Vol. *
And day and night the cat is a scientist
All walks around the chain;
Goes to the right - the song starts, To the left - tells a fairy tale.
There are miracles! there the goblin roams, the mermaid sits on the branches;
There on unknown paths Traces of unseen animals;
The hut there on chicken legs Stands without windows, without doors ...
They go, rhythmically echoing, simpler sentences, equal to one line, or less simple, two-part, equal to two lines.
When working on the expressiveness of speech, Rybnikova notes, it is necessary to mark these stops among the line, point out to students their artistic significance. These dots accentuate the dialogue; you need to skillfully use them to convey live speech. And this lively manner of speech clearly stands out on the measured rhythm of the fairy tale (four-foot trochee), interrupting it with pauses among the lines.
Another form of stop in the middle of a line is the caesura, a rhythmic break in the middle of a line, a device that occurs in some poems from line to line:
Clouds of heaven, || eternal wanderers;
Steppe azure,]! With a chain of pearls Rush you, as if like I am exiles, From the sweet north|] towards the south.
Poems by Pushkin, Lermontov, Nekrasov, which teach children to measure choreas, iambs and dactyls, are interspersed with free lines of Krylov's fables. The diverse structure of the fable perfectly expresses the fabulist's desire to capture the flexibility and liveliness of everyday, colloquial language.
"How dare you, insolent, with an unclean snout
Here is pure muddy drink
Mine With sand and silt?
For such audacity
I'll rip your head off!"
Reading fables teaches to more lively and everyday phrasing, to a freer arrangement of pauses, to a fluent roll of voices in a dialogue, to the introduction of numerous question and exclamatory intonations. Before us is vernacular, and reading fables should convey this stylistic property of this text.
In grades VI-VII, we complicate our work by combining reading poetry with reading prose (in the order of expressive reading), and we set a very difficult task for students - expressive pronunciation complex sentence.
Why is expressive reading of prose more difficult than expressive reading of poetry? Because poetry is a highly organized syntax; poems-alternation of rhythmically, measuredly going sentences, going in lines and stanzas. Prose has its own rhythm, but it is more difficult to catch it, it is more difficult to convey the prose musically and clearly enough. Therefore, speaking about the system of teaching expressive reading, we put forward poetry in the first place and propose to teach expressive pronunciation of prose in the second place, to teach this to a schoolchild who already has the skills to read poetry.
When teaching expressive reading of prose, one can start from punctuation marks, but, in essence, periods and commas are completely insufficient; the reader is forced to make a number of stops, in addition to commas, and, conversely, we often do not stop at commas. Let's express it graphically:
Bulba, on the occasion of the arrival of his sons, ordered to convene all the centurions and the entire regimental rank, whoever was there;
And when two came of them
And Yesaul Dmitro Tovkach,
His old friend
He presented them to them at the same time,
“Look, what good fellows!
I will send them to the Sich soon.”
The guests congratulated
And Bulba
And both boys
And told them
What a good deed they do
And that there is no better science for a young man,
Like the Zaporozhian Sich.
It is immeasurably easier to read ten lines from Pushkin's fairy tale than this paragraph of Gogol's prose. Finding a logical stress, and maintaining pauses at the points when alternating simple sentences, is a relatively easy matter. Here is a prosaic example:
“There was a steady, calm noise. A large, cold drop fell on Yegorushka's knee, another crept down his arm.
There are a sufficient number of poems sustained in a relatively uncomplicated syntax (and in the program of grades V and VI), but the prose of Turgenev, Gorky, Gogol, Tolstoy is built mainly on a complex sentence. Very few of the sixth graders will be able to give an expressive reading of texts from Taras Bulba, from Bezhin Meadow, from Tolstoy's Thunderstorm.
So, grades VI and VII should work on pronouncing a common and complex sentence transmitted in prose, and also, of course, in verse.
Rybnikova believes that the need to teach expressive reading, not only along the way getting acquainted with the text during analysis, but also in special lessons, let there be an insignificant number of them. These lessons, teaching the sensible and expressive pronunciation of a common and complex sentence, in grades VI and VII should be classified (in the sense of time and in essence) as Russian language lessons.
The next side of reading that needs to be worked on is the concept of a part, a paragraph, and in connection with this, attention to transitions: from loud reading to quieter, from slow to
This task is also carried out by class V, but more unconsciously, say, in the form of polyphonic reading. So, Pushkin's "At the Lukomorye" begins (the first six lines) and ends (the last four lines) in one voice - the choir pronounces the accented lines:
- There miracles.
It smells like Russia!
And all other dachas are submitted by separate votes.
This reading system creates more musical richness, emphasizes the parts of the whole, and allows each part to be presented with new vocal means._
The same will give and reading by roles. It highlights the hero’s speech (say, in a fable) and makes it necessary to emphasize the specifics of this speech: the rudeness of the Wolf, the timidity and ingratiating tone of the Lamb, the flattering notes in the Fox’s monologue, etc. For grades V-VI, this form of work is necessary. It precisely serves the purpose of separating parts and teaches us to give each part its own color. For grades V-VI, such reading (fascinating for children) is, first of all, a useful speech exercise.
Since it is about highlighting parts when reading a text, the work is related to planning. And here we have in mind the careful planning of a small passage on which we are going to work. -
Let's take an excerpt from Taras Bulba. Reading and compiling plan.
Bulba soon began to snore.
One poor mother did not sleep.
She is was pitiful, like any woman of that daring century.
Everything turned into one maternal feeling in her.
Where are the boundaries of these parts, i.e., places of large pauses? What is the content of each part, what is the color of each of these paragraphs? Calm start (Bulba's dream); excited reading, beginning with the words "one poor mother did not sleep." These repetitions: “She
Nikla to the headboard, she combed their curls with a comb, she looked at them. And the highest point in the expression of her feelings: "My sons, my dear sons!" Then Gogol moves on to a calm discussion about the position of women in Zaporozhye. This part is read a little faster, in a lower voice, in the tone of historical commentary. And then again, after this transition, a return to the painting of feelings. “Her sons, her dear sons are taken from her” - this is read again more slowly, with large quantity logical accents, highlighting details, with lyrical uplift.
This brief analysis shows that. the art of reading is conditioned by attention to the topic and to the subtopic, attention to those paragraphs that make up the whole. The neighborhood of these sub-paragraphs should be used by the reader for contrasts (father's calm sleep and mother's sleepless night), should be emphasized by pauses, voice transitions. “The Dnieper is wonderful in calm weather” is a solemn and slow reading, with a clear presentation of the circumstances (“when freely and smoothly || |! it rushes through forests and mountains”), with the emphasis on each speech link (“its full waters”). The reading of this difficult text is based on a preliminary Reading of the complex sentences that make up it. And the first two paragraphs (day and night in calm weather) go on the stately and smooth rhythm of the topic. The last paragraph - "When the blue clouds will go mountains across the sky" - this final part is read faster, with more emphasized voice transitions and with sharper logical stresses: "then the Dnieper is terrible!"
Reading such a passage as “Wonderful Dnieper” also requires dividing the entire text into three parts (plan), requires dividing a complex sentence into its logical parts, into speech links, requires an understanding of pauses and logical stresses in each link, requires raising the voice before commas and lowering it to a point. This reading will require the ability to give a feeling of delight, embracing Gogol when remembering the magical beauty of his native nature. Such a reading takes into account the abundance of hyperbole in the text of "Dnepr", exclamation points in addresses, this very form of address. In a word, the task is extremely difficult. And it will be solved satisfactorily only by that teacher who led his students gradually to an understanding of all these aspects of reading using simpler examples, both in the fifth and at the beginning of the sixth grade.
In the 7th grade, it is necessary to repeat and consolidate acquired, but not yet strengthened, skills in the field of expressive reading. In essence, if the class already knows the ABC of artistic reading, then you can conduct a lesson in poetry or prose, analyzing its subject matter, finding out the attitude of the writer to the depicted, clarifying the plan of the work and fixing it all with your voice, i.e., working on analysis and expressive reading simultaneously.
Literature
Rybnikova M. A. Essays on the method of literary reading. M., "1963, p. 146.
Kachurin M. G. Expressive reading in VIII-X grades. L., 1960, p. 76.
Solovieva A. M., Zavadskaya T. F. Expressive reading in grades 4-8. M., 1983, p. thirty.
