The content of the methodology of primary literary education. Goals and objectives of literary education. The main stages of the literary development of schoolchildren

appearance inner life, the development of the ability to fix the emotional state, to see the shades of experiences, to trace the dynamics of emotions:

The transition from centration to decentration, the emergence of the opportunity to see and compare different points of view on the phenomenon;

The transition from visual-figurative to verbal-logical thinking, the development of the ability to establish cause-and-effect relationships, the emergence of a semantic orienting basis of an act.

It is with the insufficient development of these psychological neoplasms that the shortcomings of children's perception of a literary work are associated. Analysis of a literary text and children's own literary creativity, leading to the development of the listed mental qualities junior schoolchildren, turn out to be not only possible, but also very appropriate, since they are focused on learning based on the zone of proximal development of the child.

Thus, the analysis of psychological sources showed that primary school age is a sensitive period for the beginning of a systematic literary education.

3.2. Principles for constructing the concept of the initial stage of literary education

The main principles for constructing the concept of the initial stage of literary education are the aesthetic principle, and the principles of consistency, accessibility, continuity and perspective associated with it.

3.2.1. aesthetic principle

The concept of primary literary education is based on an aesthetic principle, which primarily determines the general approach to a work of art. The concept is based on the understanding of modern literary criticism artwork as integrity (30, 34, 41, 95 others).

In literary criticism, there are two main approaches to the study of a work of art. "The first comes from the idea that the essence of art is hidden in the text itself and that each work is valuable for what it is. In this case, attention is focused on the internal laws of constructing a work of art. The second approach involves looking at a work as Part, an expression of something more significant than the text itself: the personality of the poet, the psychological moment or the social situation ... "- wrote (199, p. 28). He also writes about the need to study the work from different angles: "A work of art is a complex unity diverse and heterogeneous elements interconnected and interacting with each other, so that none of them can be considered in isolation, outside of these relationships. The same material element can perform different functions and have different meanings in different systems relations. Therefore, to characterize a literary work, along with the historical-literary approach, a system-functional approach is needed" (33, p. 6).

If in literary criticism these approaches can exist in parallel, then in the learning process there is a gradual ascent from the perception of individual works as an independent aesthetic value to the study of the creative path of the writer, the connection of the work with the historical era, literary direction, the literary process.

The system-functional approach to a work is most consistent with the specifics of the initial stage of literary education, since, firstly, it reflects the natural path for the average reader from the text of the work to the artistic world. Secondly, the subject of attention of the younger schoolchild is primarily the text of the work, and, since texts of a small volume are studied, and the improvement of reading technique requires repeated re-reading, the prerequisites are created for a scrupulous analysis of the text, cultivating an attentive attitude to the word. In high school, there will no longer be an opportunity to reread the entire work as a whole under the guidance of a teacher. Most often, the lesson is built as a conversation on the material of chapters read at home with selective reading of individual fragments of the text, which naturally makes it difficult for the integrity of perception, especially if the elementary school has not prepared the reader for a holistic analysis. Thirdly, younger students do not have historical and literary knowledge, they have very limited reading and life experience, so the text is almost the only source of their judgments about the work. The gradual accumulation of the necessary knowledge will allow, within the framework of elementary school to establish separate links between the text and the work of the writer, the text and the era and will create the prerequisites for the study of works on a historical and literary basis in high school.

Thus, the subject of study at the initial stage of literary education is literary work as an aesthetic value, study methods are determined by a system-functional approach, so it is necessary to consider how the phenomenon of a work of art is interpreted in modern literary criticism.

Scientists distinguish between the concepts of "work of art", "text of a work", "artistic world" (30, 108, 189, 190, etc.). The text is considered as the main component, without which the very existence of a literary work is impossible, however, the artistic impact of the work depends not only on the text, but also on the life experience, worldview, aesthetic preparation of the reader” (34, 109, 195, etc.). The poetic world is an ideal, spiritual content. A literary text, a statement is a necessary form of the existence of this content. And a work in its entirety is a dual process of translating the world into an artistic text and transforming the text into an artistic world," writes (34, p. 9). "The artistic world of a literary work is therefore the world which includes, internally uniting, both the subject of the utterance, and, in a certain sense, the addressee of the utterance - the "reader" - as one of the implicit, but unchanging components of a literary work as a whole" (33, p. 20-21). However, sharing these concepts, literary critics emphasize the conditionality of such a division, which gives a new impetus to the development of the theory of literature rather than to aesthetic perception, to which only the artistic world can open in its entirety. So, he writes: “... the text can be purely conditionally separated from the work it forms with many stylistic compositional superstructures. The dividing line in the image cannot be drawn anywhere, not a single element, not a single level of the artistic whole. not disconnected from the whole, but passes into all others, interacts, resonates together, responds to every voice and merges its own in unison with others” (30, p. 42). “Thus, the literary critic – as a scientist – seems to be left with only one thing: to analyze the external reality of the artistic text How system, directing your knowledge along this path to work How integrity, which is revealed to him in its fullness and non-redundancy only in his aesthetic experience,” states (95, p.22). He develops the same idea, bearing in mind not only a scientific, but also a pedagogical approach to a work: “Analysis of a text - awareness of its stylistic patterns - interpretation of the meaning and creative essence of a work - these are the stages of literary research and teaching activity, if their center is a work as the process of transforming the text into the artistic world. A literary work includes understanding as one of the components of its content - the artistic world. The interpretation of the work includes the life recreated in the work as one of the components of understanding the world. Comprehending the work, we at the same time comprehend the world, its unity and integrity - each time in a new, individual, unique human expression" (34, p. 92.).

Since the way to enter the artistic world of a work always lies through the analysis of its text, and the goal school analysis is the deepening of aesthetic experience, and not the acquisition of scientific truth, for school practice, especially at the initial stage of literary education, the distinction between the concepts of “text”, “work”, “artistic world” is unproductive. Therefore, in this work, the terms “text” and “work” will be used as synonyms.

Thus, the methodological conclusion that follows from the idea of a work of art as a whole is to recognize the need for a system-functional approach to the study of a text. The aesthetic principle can only be realized in combination with the principle of consistency. The principle of consistency in didactics Okon connects not only with the content, but also with the procedural side of education (147). The aesthetic principle should be implemented both in the content and in the teaching methods.

The aesthetic principle means that the selection of works is carried out in terms of their aesthetic value, adaptation of the text is not allowed, the content of education includes the motivation of reading and literary creative activity, as well as the knowledge and skills necessary for its implementation, the main method of studying literature is a holistic analysis of the work, and the method of speech development is the literary creativity of students. The aesthetic principle can only be realized in combination with the principle of consistency.

3.2.2. The principle of accessibility

The principle of accessibility in didactics means appealing to the highest limit of the abilities of students in order to constantly improve their ability to learn. "Russian pedagogical encyclopedia“Gives the following definition: “The accessibility of learning is ... the correspondence of the content, volume of the studied material, methods and organizational forms of teaching to the age and individual abilities of students, their knowledge, ideas, learning conditions” (171, p. 287). Thus, the principle of accessibility is associated primarily with the idea of the possibilities of students. However, there is currently no generally accepted periodization. age development, the points of view of psychologists on the specifics of children's perception of a work of art, on the possibilities of aesthetic development of younger schoolchildren are very diverse. Thus, it is difficult for methodologists to find a foothold in determining the capabilities of younger students, most often this is done empirically, hence such a different understanding of what is available to children.

The principle of accessibility in most modern programs serves as a basis only for determining the scope of reading. At the same time, the criterion for determining the accessibility of a work is not singled out. The theoretical substantiation of the criterion for selecting works leads: “... when we talk about the accessibility of a work, we mean the reader’s more or less adequate perception of that main artistic core that determines the originality, uniqueness of the content and form of art creation” (7, p.18 .). Mastering an artistic idea depends not only on the specifics of a work of art, but also on the depth of its analysis in the classroom, on the availability of literary knowledge, and the level of formation of reading skills. Therefore, the principle of accessibility should determine not only the range of reading, but also the selection of knowledge, skills, and the level of their assimilation. At the same time, the very principle of accessibility can be interpreted somewhat differently than it is customary in didactics. When determining the accessibility of the content and methods of literary education, it follows from the goal of primary literary education and from needs students, from what is necessary to achieve the goal. If in his practical activity the student feels the need for certain knowledge, skills, then it is necessary to find methodological techniques, means to help the child acquire the relevant knowledge, skills, and abilities.

Thus, the goal - the formation of a reader capable of a full perception of the work, and a "little writer" - affects, firstly, in the selection of literary material leading to the development of the reader and having the potential of meaning, which in the course of analysis with the help of a teacher can master child. Secondly, in determining the volume, content and level of assimilation of literary knowledge necessary for communicating with works of art, determining the content of reading and speech skills. Thirdly, in determining teaching methods that are adequate to the goal and content of education.

3.3.3. The principle of continuity and perspective

The principle of continuity and prospects in education requires a unified approach to the formation of the reader and the development of literary creativity of schoolchildren from grades 1 to 11. Naturally, each age stage has qualitative differences, so it is especially important to determine what connects these stages with each other.

It seems that the formation of an aesthetic attitude to the perception of a work of art and reality can become such a connecting thread. Such an attitude corresponds to the nature of art and the tasks of literary and creative activity, so it must be formed and developed throughout all the years of study. At present, as the ascertaining experiment has shown, the ascertaining level of perception prevails among younger schoolchildren, which is the result of an attitude to reading "according to the object" (a term).

Uznadze noted that "... once an activated setting... does not disappear, ... it retains its readiness to be updated again, as soon as the conditions suitable for this come into force" (203, p. 181). Moreover, "the set can become so easily excitable that it is also actualized under the influence of inadequate stimuli, thus closing the possibility of an adequate set being manifested" (203, p. 181). Therefore, if during several years of study in elementary school the child read and retell the text, but did not learn to analyze it, then in secondary school, when studying the course of literature from aesthetic positions, he continues to extract only factual information from the text, he cannot reorganize. As a result, three years schooling and three years of a child's life are spent teaching him inadequate ways of communicating with a literary text, and then relearning takes place over several more years. This also applies to the installation on the aesthetic perception of reality. It manifests itself most clearly, according to psychologists, in preschool childhood, and then fades (54). Primary school not only does not support it, but also with reproductive methods of teaching aimed at extracting and remembering information, expanding knowledge about the world, contributes to its withering away.

Methodological principles such as the principle of developing the speech of schoolchildren, the principle of focusing on the development of reading skills, the principles of selection and arrangement of literary material, the principles of structuring knowledge and skills will be considered later, when determining the content and methods of teaching. Didactic principles (the educational nature of learning, visibility, consciousness and activity of students in learning, the strength of knowledge, the individualization of learning, the connection between theory and practice) are taken into account when organizing the learning process, their content is considered traditionally.

The main difference between the productive model of education and the reproductive one is “in a fundamentally different dominant content (culture), understanding of a person as an integral being in the process of becoming, where the goal of the school is to “cultivate” a person capable of cultural creation” (18, p. 12). Therefore, the content of education must be correlated with the elements of culture. Modern didactics proceeds from the fact that education is designed to convey to the younger generation the social experience accumulated by mankind, in which four main components are distinguished:

1) knowledge about nature, society, man, methods of activity;

2) experience in the implementation of known methods of activity;

3) experience of creative activity;

4) the experience of an emotional-valuable attitude to reality, which has become the object or means of activity (193).

These four elements of social experience correspond to four types of educational content that embody different learning objectives. All types of educational content are interconnected. Knowledge has a price only when a person is able to put it into practice both in already known situations and in new, non-standard conditions, and for this he must master not only the knowledge itself, but also other types of educational content, i.e. learn to carry out known methods of activity, to master the experience of creativity. Special attention modern science gives the fourth component of social culture. The sad experience of the twentieth century has shown that progress in the development and assimilation of knowledge can lead to the regression of mankind if it is not supported by the formation of the spiritual sphere of the individual. The tasks of moral education can be solved if they are embodied in the content of education, and not just declared as a desired result. Therefore, an extremely significant element of the content of education should be the experience of an emotional-value attitude to the world, the development of which requires not only and not so much a system of knowledge, but the development of the emotional sphere of the individual.

The methodological interpretation of the didactic approach to determining the content of education requires, first of all, consideration of the role of each of the elements of social experience in solving the problems of the literary development of schoolchildren and, on this basis, determining the relationship between the individual elements of the content of literary education.

Literary education aims to form a personality ready for perceptual reading and literary and creative activity. Consequently, the main element of the content of literary education should be the experience of creative activity, embodied in the perception of a work of art and in the creation of one's own text. However, experience cannot be transferred, it can only be acquired in the course of independent activity, during which students develop certain creative skills, understood as readiness, the ability to most effectively perform actions in accordance with the goals and conditions of the activity. Therefore, the leading element of the content of literary education will be system of reading and literary and creative skills.

The formation of skills requires reliance on knowledge. From the totality of knowledge presented in social experience, one should select that which will ensure the productivity of reading and literary and creative activity, i.e. knowledge about the object of perception - a work of art, the object of production - the text, about the methods of activity. The expediency of familiarizing younger students with literary concepts has been questioned more than once because of the fear that, not supported by sufficient reading experience, it will lead not to a deepening of perception, but to a separation of direct perception from text analysis, to a formal assimilation of concepts. Therefore, as was shown in the first chapter, the series modern concepts elementary education minimizes the familiarization of younger students with literary concepts, which leads to a decrease in the level of education. On the other hand, there are programs that put forward the study of the theory of literature as a primary task, as a result of which the logic of science begins to prevail over the specifics of the age development of the child. Obviously, it is necessary to find a "golden mean", to determine the amount of necessary knowledge and the level of their assimilation at primary school age. The starting point for this is the content of the system of reading and literary and creative skills. The selection of knowledge will be determined by the need for this knowledge in order to master the system of skills. Knowledge should not be presented to children ready-made. During the analysis, observations are accumulated over the features of literary works, in the future they are generalized and serve as a support for the analysis of new works.

For full-fledged communication with art, younger students lack life experience, understanding of relationships between people, knowledge of how and in what way a person’s internal state is manifested, etc. The vocabulary of children is poor, the syntactic structure of speech is underdeveloped. Thoughtful reading, analysis of the work broaden the horizons of the child, contribute to the acquisition psychological knowledge develop his speech. Thus, a literary work itself is a source of knowledge necessary for the formation of reading and literary and creative skills. But the student needs the help of a teacher to acquire this knowledge.

The task of developing the child's reading outlook requires the introduction of bibliographic knowledge, a thoughtful selection of the range of classroom and extracurricular reading. Informatization modern society led to the need for the formation of information knowledge and skills.

The second type of content of education - the experience of implementing known methods of activity - is embodied in first-order skills and habits, that is, it can be automated. In relation to literary education, this is the operational side of reading (analytical and bibliographic) and literary and creative skills. Naturally, the content of this element also depends on the content of the skill system. Since the specifics of the initial stage of literary education is the need for systematic work on the formation of reading skills, the second component of the content of education should include the qualitative characteristics of reading skills.

The fourth type of the content of education - the experience of an emotional and value attitude to reality - in its content aspect, of course, correlates with the system of national and universal values. However, the peculiarity of the emotional-value attitude is that it is not the result of knowledge.

Discussing the educational possibilities of school art disciplines, Pashaev wrote that “due to the specifics of their content, they form the inner world of a person, and do not transmit objective knowledge (although, of course, they contain them in a subordinate form)” (129, p. 12). “In order for this spiritual process to really take place - the introduction of the child to artistic culture - the teacher must organize the “living” and the solution by children at a level accessible to them of real creative tasks related to those that were set and solved by the creators of artistic culture. The child must understand "from the inside" for the sake of which great works were created, what universal (and therefore inherent!) Ideas-feelings they express, by what means this expressiveness itself was achieved. Only then will the child be able to “appropriate” those human abilities, values, that attitude to life, which is objectified in the sphere of artistic culture” (128, p. 8).

A literary work provides the reader with the opportunity, through empathy with the hero and the author, to join the values developed by mankind. The child's own creativity also requires him to realize his position, to evaluate life phenomena. However, in order for these possibilities to be realized, it is necessary to build the study of a work of art and work on an essay in such a way as to touch the soul of the child, so that the idea of the work and the future text is not presented to the student in finished form, so that it is not only realized by the child, but would also be experienced by him. Therefore, this type of educational content should be methodically interpreted as an emotional-evaluative activity, the content of which is determined by the content of the system of reading and literary and creative skills.

So, all elements of the content of literary education are interconnected, their specific content is determined by the content of the leading type - the system of reading and literary and creative skills that ensure the development of the child's experience of creative activity, and, consequently, advancement in literary development.

2.3.1. The system of reading and literary and creative skills

The modern approach to the literary and speech development of students through the formation of their reading and speech skills has developed on the basis of didactic and methodological traditions. Although the problem of special development was not the subject of theoretical understanding of scientists of the nineteenth and early twentieth centuries, it is implicitly present in the works of such prominent teachers as emphasizing the need to develop the mind, feelings, imagination, and speech of children.

In the writings, the student appeared as an active actor, as a "methodological factor". The methodological system developed by her is based on the development of students' own literary creativity and the formation of a qualified reader. The path "from a small writer to a big reader", indicated, is successfully developed in a number of modern programs.

The development of the theory of activity (, 102), the study of the process of perception of a work and the generation of speech (, 6; , 47; , 52; , 139; , 140-142; , 169; , 210, etc.), the success of the methodology in the field of analysis of a work of art (, 13, 14; , 41; (56, 57; , 61, 62; , 114; , 117; , 136, 137, etc.), and the development of students' speech (, 49, 89; , 107; , 110, 111;, 152, etc.) made it possible to formulate the problem of the formation of speech, and then reading skills.

a fundamentally new approach to the development of coherent speech of students was developed, based on the formation of a complex of skills to create a text (91). This idea is fruitfully embodied in the practice of the school. The programs "Speech and culture of communication" (92), "Children's rhetoric" (93) solve the issues of speech development of children at the interdisciplinary level. (207) Supervised Study Proven Productivity systems approach to the development of coherent speech, a system of speech skills has been developed, which are formed at special lessons in the development of speech.

The question of the possibility and expediency of developing reading skills in schoolchildren was first raised in 1976 (133). Further development of methodological thought was associated with the development of complexes of reading skills (, 40, 134, 135; , 138; , 120; , 179, etc.), with the search for ways to form them, both through special exercises (, 45; , 55; , 97; , 115, 134, 135), and in the process of analyzing the work (, 85; , 120, 121; , 179, etc.).

In the course of the study (23) conducted by the author, a system of skills to analyze a work of art was developed, the effectiveness of a systematic approach to the formation of reading skills was experimentally confirmed, it was proved that mastering the system of skills to analyze a work of art in elementary school occurs in the process of text analysis based on mastering the techniques of analyzing a work of art , assimilation of initial literary ideas and experience of emotional and evaluative activity. Therefore, in this paper, we will first of all pay attention to the nature of the relationship between the system of reading and the system of literary and creative skills.

These skills are interpreted as secondary, creative skills, they reflect the child's readiness to act effectively in accordance with the goals and conditions of the activity. The goals of the activity in the perception of a literary text and in the creation own work are directly opposite, and the conditions are very close, although not identical. Thus, a talented reader seeks to comprehend the idea of a work of art through its form, to join the author's worldview, and the writer (when creating a text, a schoolboy becomes a "little writer", in the expression) seeks to know the world, express his worldview in a word and influence the addressee. At the same time, the writer and the reader communicate with the help of verbal and artistic images, which indicates the closeness of the conditions for perceptual and productive creative activity. Naturally, the aesthetic significance of a work of art and student work is incomparable, and we are not talking about equalizing them at all, but only about the experience of creative activity that a younger student acquires when dealing with a work of art, and which he needs when creating his own text. Therefore, it seems appropriate to bring single system reading and literary-creative skills and establish connections between them. Private skills included in the system are presented in Table 7.

Table 7

The system of reading and literary and creative skills

Reading Skills	Literary and creative
The ability to perceive figurative and expressive means of language in accordance with their function in a work of art	The ability to select and use language tools similar to those studied to implement their plan
The ability to recreate in the imagination the pictures of life created by the writer	The ability to convey your life impressions with the help of a verbal artistic image
The ability to establish cause-and-effect relationships, to see the logic of the development of action in an epic work, the dynamics of emotions in lyrics	The ability to build the composition of one's own statement, based on the author's intention and the chosen type of speech (narration, description, reasoning)
The ability to holistically perceive the image-character, the image-experience, as one of the elements of the work, which serves to reveal the idea

The ability to master the artistic idea of the work

The structure of the system reflects the structure of the object of perception and creation - the text, therefore, the idea of the level organization of a work of art is the starting point for building a system of skills. “At the lower level, the work is composed of words. Here the verbal image is inseparable from the properties and qualities of the material from which it is recreated. The foundation of the image is laid, its formation takes place first in the form of a complex of words, then complexes of phrases, paragraphs, fragments, chapters. Above the word level, a syntactic level arises, above the syntactic level, a logical one, above the logical level, the sphere of rhythmic and stylistic organization extends, and only above these layers does artistic expressiveness and content, evidence and persuasiveness arise, then the logic of composition comes into play and the contours of the building begin to emerge - a system of images , their dynamics” (30, p. 82). In accordance with the level organization of the work, particular skills are distinguished that are associated with a certain structural element of the text: language, artistic image, composition, image-character, image-experience, author's position, artistic idea.

Let us consider in comparison private reading and literary and creative skills.

4. The ability to perceive the figurative and expressive means of the language in accordance with their function in a work of art and the ability to select and use linguistic means similar to those studied to realize their intention.

Traditionally, work on the language of a work of art in elementary school was reduced to the so-called vocabulary work, in which it turned out lexical meaning words incomprehensible to the child, a synonymic series was selected in order to expand vocabulary. This work is outside aesthetic activity, since we are talking about the word as a linguistic unit, about the "unrefracted" artistic material.

Perceptual activity of the reader begins with the perception of the word as artistic speech. The concepts of "speech" and "artistic speech" are not identical: "All properties, all elements of speech, becoming the material of the form of the art of the word, thereby enter a different system, turn into properties and elements of a qualitatively different phenomenon (art, not speech activity)", - writes (71, p. 244). “The artistic text is built on top of its graphic fixation, declaring itself as a carrier of artistic meaning - with rhythm, pauses, tempo, intonation, sound vowels pronounced, with special poetic time” (30, p. 33).

The perception of a work on a verbal rather than an aesthetic level leads to the identification of art with reality. At the same time, the reader is enriched with knowledge of another life situation, but the main goal of turning to art - the spiritual development of the world is not realized. Full communication with art requires the perception of the word as a means of creating an artistic image, that is, in accordance with the function that these figurative and expressive means of language perform in a given work of art. emphasized that “both the image of the hero, and the composition of the work, and the landscape, and the plot, and the theme, and the whole complex complex of reflecting reality in literature are given only in the forms of the word, language, in their relationships, relationships, arrangements, etc. and etc.” (44, p. 88). The endless variety of works of art makes it unlikely that it is possible to enumerate all the figurative and expressive means of the language, as well as their functions in the work. The point is not to compile a register of expressive means and teach the student to look for examples for a certain item in a previously known list or to use a ready-made stamp in his speech. The reader not only does not need to know the names of various tropes, but also does not need to single out the so-called "figurative expressions" in the text and explain their meanings, translating the image into a logical formula and thereby destroying it. It is necessary to teach the student to adequately perceive the means with which he meets when reading, that is, delving into the construction of a phrase, into the choice of a word, to think about the author's choice, to recreate the artistic image in his imagination, to understand and evaluate the actions of the characters, to comprehend the author's assessment, etc. e. The accumulation of reader observations leads to the formation of initial knowledge about the nature of the artistic word.

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Standard of primary general education in literary reading in educational institutions, 1286.01kb.

The main educational program of primary general education go secondary school No. 625, 1828.17kb.

^ 2. 3. The content of the initial stage of literary education

1) knowledge about nature, society, man, methods of activity;

2) experience in the implementation of known methods of activity;

3) experience of creative activity;

4) the experience of an emotional-valuable attitude to reality, which has become the object or means of activity (193).

These four elements of social experience correspond to four types of educational content that embody different learning objectives. All types of educational content are interconnected. Knowledge has a price only when a person is able to put it into practice both in already known situations and in new, non-standard conditions, and for this he must master not only the knowledge itself, but also other types of educational content, i.e. to learn to carry out known methods of activity, to master the experience of creativity. Modern science pays special attention to the fourth component of social culture. The sad experience of the twentieth century has shown that progress in the development and assimilation of knowledge can lead to the regression of mankind if it is not supported by the formation of the spiritual sphere of the individual. The tasks of moral education can be solved if they are embodied in the content of education, and not just declared as a desired result. Therefore, an extremely significant element of the content of education should be the experience of an emotional-value attitude to the world, the development of which requires not only and not so much a system of knowledge, but the development of the emotional sphere of the individual.

The formation of skills requires reliance on knowledge. From the totality of knowledge presented in social experience, one should select that which will ensure the productivity of reading and literary and creative activity, i.e. knowledge about the object of perception - a work of art, the object of production - the text, about the methods of activity. The expediency of familiarizing younger students with literary concepts has been questioned more than once because of the fear that, not supported by sufficient reading experience, it will lead not to a deepening of perception, but to a separation of direct perception from text analysis, to a formal assimilation of concepts. Therefore, as was shown in the first chapter, a number of modern concepts of primary education minimize the familiarization of younger students with literary concepts, which leads to a decrease in the level of education. On the other hand, there are programs that put forward the study of the theory of literature as a primary task, as a result of which the logic of science begins to prevail over the specifics of the age development of the child. Obviously, it is necessary to find a "golden mean", to determine the amount of necessary knowledge and the level of their assimilation at primary school age. The starting point for this is the content of the system of reading and literary and creative skills. The selection of knowledge will be determined by the need for this knowledge in order to master the system of skills. Knowledge should not be presented to children ready-made. During the analysis, observations are accumulated over the features of literary works, in the future they are generalized and serve as a support for the analysis of new works.

For full-fledged communication with art, younger students lack life experience, understanding of relationships between people, knowledge of how and in what way a person’s inner state is manifested, etc. The vocabulary of children is poor, the syntactic structure of speech is undeveloped. Thoughtful reading, analysis of the work broaden the horizons of the child, contribute to the acquisition of psychological knowledge, develop his speech. Thus, a literary work itself is a source of knowledge necessary for the formation of reading and literary and creative skills. But the student needs the help of a teacher to acquire this knowledge.

The task of developing a child's reading outlook requires the introduction of bibliographic knowledge, a thoughtful selection of the range of classroom and extracurricular reading. Informatization of modern society has led to the need for the formation of information knowledge and skills.

Speaking about the educational possibilities of school art disciplines, A.A. Melik-Pashaev wrote that “due to the specifics of their content, they form the inner world of a person, and do not transmit objective knowledge (although, of course, they contain them in a subordinate form)” (129, p.12). “In order for this spiritual process to really take place - the introduction of the child to artistic culture - the teacher must organize the “living” and the solution by children at a level accessible to them of real creative tasks related to those that were set and solved by the creators of artistic culture. The child must understand "from the inside" for the sake of which great works were created, what universal (and therefore inherent!) Ideas-feelings they express, by what means this expressiveness itself was achieved. Only then will the child be able to “appropriate” those human abilities, values, that attitude to life, which is objectified in the sphere of artistic culture” (128, p. 8).

^ 2.3.1. The system of reading and literary and creative skills

The modern approach to the literary and speech development of students through the formation of their reading and speech skills has developed on the basis of didactic and methodological traditions. Although the problem of special development was not the subject of theoretical understanding of scientists of the nineteenth and early twentieth centuries, it is implicitly present in the works of such prominent educators as K.D. Ushinsky, V.I. Vodovozov, V.A. Stoyunin, V.P. Ostrogorsky, Ts.P. Baltalon, emphasizing the need to develop the mind, feelings, imagination, speech of children.

In the works of M.A. Rybnikova's student appeared as an active character, as a "methodological factor". The methodological system developed by her is based on the development of students' own literary creativity and the formation of a qualified reader. The path "from a small writer to a big reader", indicated by M.A. Rybnikova, is successfully developing in a number of modern programs.

The development of the theory of activity (A.N. Leontiev, 102), the study of the process of perception of the work and the generation of speech (L.I. Belenkaya, 6; L.G. Zhabitskaya, 47; A.V. Zaporozhets, 52; N.G. Morozova , 139; O.I. Nikiforova, 140-142; L.N. Rozhina, 169; P.M. Yakobson, 210, etc.), the success of the methodology in the field of analysis of a work of art (T.G. Brazhe, 13, 14 ; G.A. Gukovsky, 41; G.N. Ionin (56, 57; M.G. Kachurin, 61, 62; E.A. Maimin, 114; V.G. Marantsman, 117; N.D. Moldavskaya , 136, 137, etc.), and the development of students' speech (N.I. Zhinkin, 49, V.A. Kustareva, N.S. Rozhdestvensky, 89; A.I. Lipkina, M.I. Omorokova, 107; M.R. Lvov, 110, 111; N.A. Plenkin, 152, etc.) made it possible to formulate the problem of the formation of speech, and then reading skills.

T.A. Ladyzhenskaya developed a fundamentally new approach to the development of coherent speech of students, based on the formation of a complex of skills to create a text (91). This idea is fruitfully embodied in the practice of the school. The programs "Speech and culture of communication" (92), "Children's rhetoric" (93) solve the issues of speech development of children at the interdisciplinary level. In the study by G.S. Shchegoleva, carried out under the guidance of T.G. Ramzaeva (207), the productivity of a systematic approach to the development of coherent speech was proved, a system of speech skills was developed, formed at special lessons in the development of speech.

The question of the possibility and expediency of developing reading skills in schoolchildren was first raised by N.Ya. Meshcheryakova and L.Ya. Grishina in 1976 (133). Further development of methodological thought was associated with the development of complexes of reading skills (N.Ya. Meshcheryakova, L.Ya. Grishina, 40, 134, 135; N.D. Moldavskaya, 138; V.G. Marantsman, 120; Safonova, 179, etc.), with the search for ways to form them, both through special exercises (Z.D. Doroshenko, 45; O.G. Zenchenko, 55; V.I. 115, N.Ya. Meshcheryakova, L.Ya. Grishina, 134, 135), and in the process of analyzing the work (N.I. Kudryashov, 85; V.G. Marantsman, 120, 121; A.M. Safonova, 179 and others).

These skills are interpreted as secondary, creative skills, they reflect the child's readiness to act effectively in accordance with the goals and conditions of the activity. The goals of the activity in the perception of a literary text and in the creation of one's own work are directly opposite, and the conditions are very close, although not identical. Thus, a talented reader seeks to comprehend the idea of a work of art through its form, to join the author's worldview, and the writer (when creating a text, a schoolboy becomes a "little writer", in the words of M.A. Rybnikova) seeks to know the world, express his worldview in a word and influence to the addressee. At the same time, the writer and the reader communicate with the help of verbal and artistic images, which indicates the closeness of the conditions for perceptual and productive creative activity. Naturally, the aesthetic significance of a work of art and student work is incomparable, and we are not talking about equalizing them at all, but only about the experience of creative activity that a younger student acquires when dealing with a work of art, and which he needs when creating his own text. Therefore, it seems appropriate to bring reading and literary and creative skills into a single system and establish links between them. Private skills included in the system are presented in Table 7.

Table 7

The system of reading and literary and creative skills

Reading Skills	Literary and creative Skills
The ability to perceive figurative and expressive means of language in accordance with their function in a work of art	The ability to select and use language tools similar to those studied to implement their plan
The ability to recreate in the imagination the pictures of life created by the writer	The ability to convey your life impressions with the help of a verbal artistic image
The ability to establish cause-and-effect relationships, to see the logic of the development of action in an epic work, the dynamics of emotions in lyrics	The ability to build the composition of one's own statement, based on the author's intention and the chosen type of speech (narration, description, reasoning)
The ability to holistically perceive the image-character, the image-experience, as one of the elements of the work, which serves to reveal the idea	The ability to reveal the author's intention through the introduction of a character, landscape into the text
The ability to see the author's assessment, attitude, position in all elements of the work	The ability to subordinate the author's intention to all elements of the text
The ability to master the artistic idea of the work	Ability to identify the author's intent

Let us consider in comparison private reading and literary and creative skills.

The ability to perceive the figurative and expressive means of the language in accordance with their function in a work of art and the ability to select and use linguistic means similar to those studied to realize their intention.

Traditionally, work on the language of a work of art in elementary school was reduced to the so-called vocabulary work, in which the lexical meaning of words incomprehensible to the child was clarified, a synonymic row was selected in order to expand the vocabulary. Such work lies outside of aesthetic activity, since we are talking about the word as a linguistic unit, about the "unrefracted" artistic material.

Perceptual activity of the reader begins with the perception of the word as artistic speech. The concepts of "speech" and "artistic speech" are not identical: "All properties, all elements of speech, becoming the material of the form of the art of the word, thereby enter a different system, turn into properties and elements of a qualitatively different phenomenon (art, not speech activity)", - writes V.V. Kozhinov (71, p. 244). “The artistic text is built on top of its graphic fixation, declaring itself as a carrier of artistic meaning - with rhythm, pauses, tempo, intonation, sound vowels pronounced, with special poetic time” (30, p. 33).

The perception of a work on a verbal rather than an aesthetic level leads to the identification of art with reality. At the same time, the reader is enriched with knowledge of another life situation, but the main goal of turning to art - the spiritual development of the world is not realized. Full communication with art requires the perception of the word as a means of creating an artistic image, that is, in accordance with the function that these figurative and expressive means of language perform in a given work of art. G.A. Gukovsky emphasized that “both the image of the hero, and the composition of the work, and the landscape, and the plot, and the theme, and the whole complex complex of reflecting reality in literature are given only in the forms of the word, language, in their relationships, interconnections, arrangements, etc. and so on." (44, p. 88). The endless variety of works of art makes it unlikely that it is possible to enumerate all the figurative and expressive means of the language, as well as their functions in the work. The point is not to compile a register of expressive means and teach the student to look for examples for a certain item in a previously known list or to use a ready-made stamp in his speech. The reader not only does not need to know the names of various tropes, but also does not need to single out the so-called "figurative expressions" in the text and explain their meanings, translating the image into a logical formula and thereby destroying it. It is necessary to teach the student to adequately perceive the means with which he meets when reading, that is, delving into the construction of a phrase, into the choice of a word, to think about the author's choice, to recreate the artistic image in his imagination, to understand and evaluate the actions of the characters, to comprehend the author's assessment, etc. d. The accumulation of reader observations leads to the formation of initial knowledge about the nature of the artistic word.

When creating their own statement, children rely on the knowledge gained, they learn to convey their mood through a description of nature, the mood of a character through a description of facial expressions, gestures, etc. Children do not copy the sample text, but use language means similar to those studied in accordance with their speech task and the material underlying the composition.

M.M. Bakhtin wrote: “The form is determined by the given content, on the one hand, and the peculiarity of the material and the methods of its processing, on the other hand. A purely material artistic task is a technical experiment. Artistic reception cannot be only a method of processing verbal material (the linguistic givenness of words), it must first of all be a method of processing a certain content, but at the same time with the help of a certain material” (5, pp. 176-177). Although this statement is dedicated to the activities of professional writers, it is also important for the methodology, since it helps to substantiate the content of one of the literary and creative skills, emphasizing the importance of a conscious search for a form that reveals and realizes the author's intention of the child. What is needed is an independent choice of form, and not the fulfillment of the task of the teacher, who made this choice for the student and proposes to introduce certain figures of speech, ready-made comparisons, epithets, etc. into the essay. The development of speech does not consist in the technical mastery of techniques, but in the acquisition of creative experience in the search for an adequate combination of content and form. In the process of editing own composition under the guidance of a teacher, children achieve greater expressiveness and accuracy of speech, replacing repeated words, choosing synonyms that more accurately reflect the thought, changing the order of words in a sentence and thereby emphasizing the desired shade of meaning, etc.

In the process of text analysis, younger students, under the guidance of a teacher, at each lesson observe how the work is "made", on the basis of these observations, they form initial literary and speech ideas about the word as a means of creating an artistic image and a means of expressing the author's attitude; about the polysemy of the word, about the figurative meaning, epithet, comparison, metaphor, synonyms and antonyms; about rhythm, rhyme, sound writing as expressive means, about styles of speech.

The method of text analysis, as mentioned above, performs dual role: serves as a means of penetration into a literary text, mastering its ideas and a means of forming knowledge and skills. The formation of the skills under consideration is facilitated by such methods of text analysis and types of work on the development of speech, such as

Identification of figurative and expressive means of language in order to recreate pictures of life, characterization of characters, identify the author's position;

Selection of synonyms in order to comprehend the shades of the meaning of the word and the awareness of the author's choice;

Stylistic analysis, stylistic experiment;

Selection of comparisons, epithets in order to convey the impression of objects and phenomena, attitudes towards them;

Sketches, descriptions expressing the mood of the author;

Compilation of riddles;

Emotional and evaluative activity (realizing the fourth element of the content of education - the experience of an emotionally valuable attitude to the world), corresponding to the skills under consideration, is as follows:

The transfer in speech of one's attitude to objects and phenomena.

“The verbal form does not exhaust, does not cover the image, but only serves as its basis, the starting point for its design and implementation as some kind of very special dynamic reality” (30, p. 33). Therefore, only the ability to perceive the figurative and expressive means of the language in accordance with their function in a work of art and to select and use language means similar to those studied to achieve their own speech goal, for all their importance, is not enough to ensure a full-fledged reading and literary and creative activity.

Reading skill as an element of the content of literary education. The psychological patterns of the formation of the reading skill were considered earlier, now we turn to the characteristics of the content of the work to improve the reading technique. The methodology traditionally distinguishes four qualities of reading skills:

1) correctness - reading without errors and distortions;

2) fluency - reading speed, measured by the number of words read per minute;

3) consciousness (consciousness) - understanding the actual content of what is read;

4) expressiveness - intonation of the sentence in accordance with punctuation marks.

Recently, many methodologists have begun to add another characteristic of the skill: the way of reading. From this point of view, reading is single-letter, syllabic, whole words, syntagmas, sentences.

Reading fluency is not an end in itself, but inattention to this guideline can lead to serious consequences for the student, since reading skill is a general educational skill, the success of learning in all subjects, as was proved by the study of V. N. Zaitsev, primarily depends on the degree of mastery of the skill reading.

Consciousness as a qualitative characteristic of the reading skill suggests that the pronunciation and understanding of the meaning of a word, syntagma, sentence coincide in time. The term "consciousness" is also used in the case when reading is characterized not from the technical, but from the content side, however, the content of the term changes. Conscious reading in this case involves understanding not only the actual content of what is read, but also the meaning of the text, which requires mastering reading skills.

The term "expressiveness" is also ambiguous. Expressiveness as a quality of reading is associated with intonation corresponding to punctuation marks in a sentence: a pause at a comma, lowering the voice at the end of a sentence, observing exclamatory and interrogative intonation. Performing expressiveness involves the reader's interpretation of the meaning of the work, expressed with the help of intonation. It is obvious that one can speak of performing expressiveness only when the meaning of the text is not only understood by the student, but also experienced, interpreted in his own way.

Theoretical and literary knowledge. Ideas about the specifics of the art of the word are formed in the process of text analysis. So, for example, when analyzing the fairy tale by G. M. Tsyferov “The Train”, the teacher constantly draws the attention of children to the role of the word in creating the image. Reflecting on the author's choice, second-graders understand that the word "Engine" in the title, written with capital letter, reports not about the size of the locomotive, but about the direct childish view of the world inherent in the character, expresses the author's gentle and touching attitude towards the hero, for whom the beauty of the world is more important than life's fuss, momentary benefits. Reflecting on why the author calls other characters in the story differently in different episodes (passengers, people, uncles and aunts), children accumulate an idea of the significance of the name of a character in a literary work, of ways to convey the author's attitude to the characters. Observations accumulate from lesson to lesson. Turning to a new work, the children themselves begin to think about the meaning of the title of the text, the name of the character. The teacher can generalize the received ideas, draw a theoretical conclusion, but he should not require the child to reproduce theoretical information.

The amount of knowledge and the level of their assimilation is established by each program independently, taking into account the requirements of the State Educational Standard.

Emotional and evaluative activity in the lesson of literary reading. The experience of an emotional-valuable attitude to the world is acquired by a child in the process of emotional-evaluative activity in the perception of a work of art and the creation of his own statement. “Values are not learned like knowledge, but are experienced and lived through in one’s own life and artistic experiences of a maturing personality,” wrote M. S. Kagan.

Compliance with certain methodological conditions helps to organize the artistic experience of experiencing and living life values:

emotionality of the first perception of the work;
maintaining the emotional "degree" of the lesson;
overcoming the emotions of the material with the emotions of the form (transition from everyday assessment to aesthetic), living the work;
the right of the student to his own interpretation (with the restriction of the arbitrariness of interpretation by the text of the work).

Emotional empathy is an integral part of any of the methods of text analysis.

The choice of literary and speech concepts, as shown above, was determined by the need to refer to them in the process of analyzing the works under study and relying on them when forming a system of skills. Naturally, the formation of these concepts in all their completeness and complexity is impossible at the level of primary education, simplification is inevitable. Therefore, it is especially important to develop the principle of simplification without distorting the essence of the concept, which seems to be a very difficult, if not impossible, task.

In some cases, such simplification is possible due to familiarization with general concept and subsuming all special cases under it. For example, when observing with children the role of repetitions in a text, it is inappropriate to single out their particular types: anaphora, epiphora, pickups, refrains, etc. Following this principle, one can form ideas about rhyme, about sound writing, about a lyrical poem. It is customary to single out such a genre as "lyrical poem" in primary education. This seems appropriate, since the question of the system of lyrical genres has not yet been resolved in literary criticism. The term "lyric poem", covering all genres of lyrics, focuses the attention of younger students on the specifics of this kind of literature and on the poetic form of the work. The principle of subsuming the particular under the general will allow in the future to deepen the knowledge of the children, introducing them to new particular manifestations, without destroying the idea of the general.

The second principle is that the content of the concept is revealed incompletely. For example, younger students get acquainted with the concept of "rhythm" as the repetition of the same elements and, depending on the characteristics of the work being studied, observe the rhythm of stress, syntactic rhythm, phonetic, but it is more expedient to get acquainted with the meter in high school. In this case, there will also be no need to break the existing ideas, they will only be supplemented.

The third principle is to combine close concepts. So, modern literary criticism separates the concepts of "text" and "work of art", in elementary school, in the process of reading and analyzing a work, these terms are used as synonymous. The concept of "text", introduced in the lessons of the Russian language ("Text - two or more sentences related to each other in meaning. The text can be titled.") is used when working on an essay. The concepts of "biographical author" and "image of the author" are also not separated in elementary school, as mentioned above, but it is advisable to separate the concepts of "author" and "narrator".

The level of assimilation of knowledge also varies. Part of the knowledge can be formed at the level of the concept, with the allocation of essential features, the introduction of the wording and the term. For example, the concepts of "main idea", "theme".

Part of the knowledge is formed at the practical level: students can use the term, call the corresponding phenomenon by this term, but the definition of the concept is not introduced. So, at the practical level, the concepts of "composition", "plot", "sound writing", "rhythm" are assimilated.

Knowledge can also be formed at the level general idea, in this case, terms are not introduced, no definition is given, but the whole work is structured in such a way that children see the connection between individual phenomena. For example, the idea of the relationship between art and life, of the second "artistic" reality, of the difference between speech and the artistic word, of the relationship between the image and the artistic idea.

All the knowledge formed by younger students can be divided into two types: the knowledge necessary to create a general idea of the nature of art, its purpose, and the knowledge that is the basis for mastering a specific operation, a method of analysis. In the first year of study, the formation of knowledge is subject to the main tasks of the year: the formation of motivation for reading activity, and mastering the operational side of analysis. Therefore, both types of knowledge are formed in first-graders, but the knowledge of the first type is at the level of a general idea, and the knowledge of the second type is at the practical level or at the level of a concept. In the second and third years of study, both types of knowledge expand and deepen, and they are consolidated in practical activities. In the fourth grade, primary attention is paid to knowledge about the specifics of literature as an art. Operational knowledge is accessed as needed, when difficulties arise in the use of a particular technique.

Reading skills in the broad sense of the word include not only skills related to text analysis, but also bibliographic skills. Modern Rhythm life requires a person to quickly respond to changing conditions, the ability to navigate in a huge flow of information. It is necessary to learn this from childhood, therefore, primary literary education should include a system of bibliographic knowledge and skills. Modernization program general education provides for the introduction of informatics lessons in elementary school. The standard emphasizes that information knowledge and skills should be formed in the study of all subject areas of elementary school. The methodology of elementary education has long begun to pay attention to the bibliographic culture of younger students. This issue is well developed in the works of N.N. Svetlovskaya (180, 181). The content of bibliographic knowledge and skills, developed on the basis of the ideas of N.N. Svetlovskaya, is presented in Table 8.

Table 8

Class	Knowledge	Skills
	Reading hygiene rules	Ability to follow the rules of reading hygiene
	The main elements of the book: cover, spine, title page, pages, table of contents, illustrations; preface, afterword, abstract	The ability to name the book, indicating the author and title The ability to navigate in the book The ability to determine the main content of the book by title, illustrations, table of contents, annotations
3-4 3-4	Orientation in the book world: · book exhibition; the principle of the arrangement of books in the library; · card index of covers; alphabetical catalog; · reference publications · thematic catalogue; main children's periodicals; main series of children's books; Children's publishing houses	The ability to select books by a certain author, literature on a given topic The ability to find the right book in the library The ability to use an alphabetical catalog, to make a simple index card. Ability to use a thematic catalog Ability to select material on a given topic, using reference literature and children's periodicals Ability to navigate in books, independently use the reference apparatus

Bibliographic knowledge and skills can be formed in specially designated lessons; you can devote part of a regular reading lesson to this work. The main thing is to create conditions that would require children to use the acquired knowledge in everyday practical activities, and not from case to case.

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Primary Literary Education in the System of Continuous Literary Education of Schoolchildren

In modern conditions of cardinal changes in the social life of our country, radical changes in the field of education, the problem of literary education at school is becoming especially acute. It is known that in critical historical epochs, the native language and literature become symbols of national self-consciousness. In the context of the spiritual and moral revival of Russia, the social significance of the subject "literature" in the formation of the spiritual culture of the Russian people is increasing. The main goal of this subject can be defined as follows - to help each student become an educated, cultured person, spiritually rich and moral person. Today, the school has received a state order for the education of students, and in the "Educational Standards" each school subject is considered as educational area. This means that human education is not equal to learning, it is a fundamentally different concept.

The meaning of the word "education" goes back to the root "image", and if we consider it as a definition of the process, then this is the formation of one's image, the image of "I". The formation of the image of "I" occurs under the influence of certain samples that a person finds in life and in Culture. Literature is a part of Culture, and, consequently, the study of literature, its texts, the laws of development is one of the ways of education. A person who is being formed refracts the fragments of the "become" culture presented to him from the outside through the prism of his "I", merges the products of someone else's experience with the testimony of his own, comprehends them, i.e. gives its own meaning. At the same time, he creates a new, previously non-existent culture, which can only exist on the verge of cultures (M.M. Bakhtin).

A literary work is studied as a result of creative activity, as a culturally significant phenomenon, as an aesthetic transformation of reality. In accordance with this, in the process of literary education, it is necessary to educate a reader who is capable of fully perceiving literary works in the context of the spiritual culture of mankind and prepared for independent communication with the art of the word.

Considering literary education as a unity of three components - creativity - co-creation - skills, we understand that its result is the literary development of a student, which involves not only the growth of emotional and aesthetic culture and literary and creative abilities, not only the accumulation of reading experience and conceptual apparatus, but and self-realization in the field of activity.

LiteraryeducationThere isprocessoccurrenceschildVculturemeansliterature.

In accordance with the structure of the school and the psychological and age characteristics of students, the following stages (stages) of literary education are distinguished.

Initialclasses(initialstep). Students master the basics of reading culture and, above all, the ability to read meaningfully, consciously and expressively. All this work is aimed at developing emotional susceptibility, creative imagination, imagination of schoolchildren, and awakening interest in literature. Modern methodologists put the formation of the reader at the center of training in reading and literature at this stage. Such a learning goal is put forward in the programs of O.V. Dzhezheley, R.N. and E.V. Buneev, G.N. Kudina and Z.N. Novlyanskaya. Other programs focus on the study of the specifics of literature as an art form (the program of L.E. Streltsova and N.D. Tamrchenko) or on the communicative properties of art in general and literature in particular (the program of V.A. Levin). In the system of developmental education L.V. Zankov proclaims the idea of knowing a wide picture of the world on the basis of reading literary works different types and types (Z.I. Romanovskaya). The literary principle is put forward as one of the leading principles of teaching reading in the program of V.G. Goretsky and L.F. Klimanova. Thus, literary knowledge, to one degree or another, is necessarily included in modern system education in elementary school.

Y-IXclasses-nextstageVliteraryeducationschoolboy. Literature at this stage acts as an independent subject. Students gradually enter different artistic systems and become aware of their specifics. In accordance with the age interests and abilities of students, a list of works intended for textual study, review conversations and independent reading is formed. Compared with the primary grades, the reading experience of students increases. The circle of their reading includes a wide variety of works, more complex in content, representing domestic and foreign literature of different eras. Much attention is paid to lyrics, works of heroic, romantic, fantastic content. At the same time, concepts are formed about some general properties of literature (figuration), about the structure of a work of art (theme, idea, position of the author, plot, composition). Students consider literary heroes in development, in the relationship of characters and circumstances, get acquainted with the most important moments in the creative history of works, generalize observations on the genre features of literature.

X-XIclasses-nextstageVliteraryeducationschoolchildren. The course is built on a historical and literary basis. Students have a need for broad generalizations, for a holistic understanding of the life and historical destinies of the people and mankind, the role and significance of art, the creative paths of the writer, their contribution to national and world culture. They reach a level of intellectual and moral development, when it is possible and necessary to solve complex moral issues, form evaluative positions, and a historical approach to the phenomena of artistic culture. The understanding of literature as a source of irreplaceable emotional and aesthetic experiences that have a huge impact on the personality of the reader is deepened.

The subject of reading and studying are the top works of different eras for writers and literature - from antiquity to the present day, which have great educational potential, taken in unity with the creative path of the writer and the movement of literature. Simultaneously with the analysis of these works, students get acquainted with some stages of development literary language. They master the area of literary theory that characterizes general properties literature (imagery, unity of content and form, the social role of literature) and the literary process (direction, style), generalize their knowledge about the personality of the writer, about the ways of expressing the author's consciousness.

Thus, from stage to stage, the list and content of the studied works of art are expanding and becoming more complex, the range of assimilated theoretical knowledge ways of mastering the literary text are being improved.

Consequently, the literary education of the younger schoolchild is included in a single process of the literary education of students.

2. According to scientists, on present stage Literary education in elementary school should be based on two guiding principles: artistic and aesthetic and literary criticism.

The artistic and aesthetic principle should determine the principles for selecting works for reading, introduce the student to artistic texts that reveal to us the riches of the world around us and human relations. Such texts give rise to a sense of harmony, beauty, teach to understand the beautiful, appreciate it, form their own attitude to the surrounding reality.

The literary principle is realized in the analysis of a work of art. The artistic image as the language of art and literature in particular is brought to the fore. This principle covers all areas of literary creativity and genres.

In this regard, new alternative programs for literary reading. As methodological science shows, acquaintance with a work of art has always occupied a valuable place in the lesson, but in different time viewed from various points of view. Like any art, literature is polyfunctional. Cognition of life, aesthetic exploration of the world by means of fiction is firmly connected with its educational function, with the solution of worldview and moral issues, it involves the activation of the intellectual and emotional-aesthetic sphere of the reader. All these aspects of a literary work should take place in the lessons of literary reading.

Today, the attitude to literary concepts in the process of literary education is changing. They become only a means to achieve the main goal. K.D.Ushinsky noted that the young reader “first of all, is fascinated by the very thought, content, phenomenon, fact, and not the form of expression of thought. It is impossible to think of a more senile occupation than caring for the finishing of forms. This is luxury. Desire comes already when there is a lot of content in the mind, when the new ceases to interest us much. And for a child, the whole world is still new and entertaining.

In order to conduct productive work with a work of art and know when the activity of a child-reader, organized by a teacher, could become independent, it is necessary to pay attention to the process of reading itself and the peculiarities of its organization in elementary school.

The perception of a work of art must be taught, gradually revealing the secrets of a literary work of art. The figurative form of art, affecting the emotional sphere of the child, produces profound changes in the child's psyche. A work of art, influencing the imagination of students, evokes empathy in them, activates emotions.

The most significant factor in perception is the factor of emotionality, a person's ability to experience. As OI Nikiforova noted, the ability of direct figurative and emotional perception of works of art is not elementary and innate. It is necessary to teach children this, as well as the operations of the imagination, which contribute to the direct and complete reconstruction of the images of literary works.

The child has to do a lot of spiritual work before a full-fledged perception of the work takes place. He needs to go through all the layers of the artistic structure, through the plot, the plot, understand the figurative structure of the work and rise to the top of its ideological and artistic meaning. It is important that the reader, step by step climbing the steps of art comprehension, gradually penetrate into the artistic and figurative fabric of the work, plunging into the multidimensional world created by the artist. The subject of the child's comprehension is both the content of the work and its form. In a literary text, all components of content and form are organically linked; they should not be divided into constituent elements, but should be observed as they function as a whole.

It is necessary to teach the child to read, "peer" into the artistic word so that it reveals its secrets to him. V.S. Asmus said that the content of a work of art does not pass from the book to the reader’s head, like water overflowing from one jug to another. It is reproduced, recreated by the reader himself according to the guidelines given in the work itself, according to the final results determined by the mental, spiritual activity of the reader. Reading fiction is a creative process, and this is how it should be in elementary school for a younger student - a novice reader. Therefore, today the lessons of literary reading should solve the following tasks:

To develop in children the ability to fully perceive a work of art, empathize with the characters, and emotionally respond to what they read;

Teaching children to feel and understand figurative language a work of art, expressive means that create an artistic image, develop the imaginative thinking of students;

Help to accumulate the aesthetic experience of listening to works of art literature, to cultivate artistic taste;

To form the need for constant independent reading of the book, to develop interest in literary creativity;

Enrich the sensory experience of the child, his real ideas about the world and nature;

Provide speech development child.

In a modern elementary school, the teacher is faced with the task of literary development of younger students. Literary development, as N.D. Moldavskaya noted, means the formation of the ability to think in verbal and artistic images. Mastery poetic speech- the main condition for the successful development of this ability, which is necessary for every reading person. Literary development can be defined as the process of developing the ability to directly perceive the art of the word, the complex skills to consciously analyze and evaluate what is read, guided by the artistic taste developed from the first reading lessons at school. The literary development of a child involves the upbringing of an aesthetically developed reader who is able to understand the author of a literary text and generate his own judgment about the work and the life phenomena reflected in it, mastering the dialogue between the reader and the writer. This relationship between the reader, the text and the writer is mastered in the process of practical literary activity the schoolchildren themselves, who work in various positions (G.N. Kudina, Z.N. Novlyanskaya).

The aesthetically advanced reader faces two challenges. The first is to see the inner world of the characters "through the eyes of the author". The second is to develop your own point of view on what the author depicts and expresses, agree with him or enter into an argument and see the conditional world of the work with your own eyes - “the eyes of the reader”. Both of these tasks can be solved only through a specific "correspondence" dialogue between the author and the reader, mediated by a literary text. According to M.M. Bakhtin, a literary work is an artistic "model" of the world, inside which there are always two mismatched consciousnesses - the hero and the author. The author, who creates his own model, gets used to the hero (sees the surrounding reality through his eyes) and at the same time maintains the position of “outside location”, i.e. looks at the hero with his own eyes, evaluates him in one way or another and, shaping his life in a work of art, places his milestones and pointers intended for the reader in the text.

An aesthetically developed reader also performs a dual act: getting used to the world created by the author, directly empathizing with the hero, he simultaneously tries to see everything that happens through the eyes of the author, looks for the appropriate author's milestones and indicators, according to which he recreates the model created by the author, i.e. accompanies the author's position - will create the author. And at the same time, he develops his own point of view and compares it with the author's.

An aesthetically undeveloped reader (direct) reader, if he gets used to the hero and directly empathizes with him, then, not noticing the author's milestones and pointers, sometimes inadequately understands the inner world of the hero. Such a reader develops only his own view of the world created by the author, does not accompany the author's point of view, and often does not even suspect its existence. As a result, he does not understand the author, does not enter into a dialogue with him, "co-creation of those who understand" does not occur.

Consequently, the main task of the stage of primary literary education is the education of a qualified reader, since it is impossible to give systematic literary knowledge to a first-grader child who cannot read and has no reading experience. This stage helps the child to make the transition from the position of the listener, the “co-author” of the text to the position of the reader-interpreter, i.e. take the first step of distancing (detachment) from the text.

The younger schoolboy is a "naive realist". At this age, he does not realize the special laws of constructing a literary text and does not notice the form of the work. His thinking is still active-figurative. The child does not separate the object, the word denoting this object, and the action that is performed with this object, therefore, in the child's mind, the form is not separated from the content, but merges with it. Often a complex form gets in the way of understanding the content.

Therefore, one of the tasks of the teacher is to teach children the "external" point of view, i.e. the ability to understand the structure of the work and to assimilate the patterns of construction of the artistic world.

The creative activity of the child is generally recognized as an obligatory component of the system of elementary literary education of a schoolchild.

The modern method of teaching reading and literature is based on theoretical principles developed by such sciences as literary criticism, psychology, pedagogy, and physiology. For the correct organization of the process of introducing a child to literature, the teacher must take into account the specifics of a work of art, the psychophysiological foundations of the reading process at different stages of education, the characteristics of perception and assimilation of the text by younger students, etc.

The objective content of any work is reality. In works of art, reality is represented in images. Imagery has a number of features that determine the originality of a work of art and its difference from a scientific text. Literature as a subject of art has an aesthetic nature, therefore, a lesson in literary reading should be built on an aesthetic basis.

The method of analysis of a work of art in primary school cannot ignore psychological features perceptions of children of primary school age.

To date, the following problems of methodological science can be noted:

1. The problem of reading, the perception of fiction as the art of the word; formation of the reader, his spiritual world.

2. Mutual enrichment of literary criticism and methods of teaching reading and literature.

3. Deepening the links between the perception of the work, its interpretation, analysis and independent activity students.

4. The problem of studying the literary development of students, and not only in the research aspect, but as the basis of school teaching of literature, the choice of programs, lesson technologies, concepts at different stages of the literary development of children.

5. Historical change in the methods and techniques of studying literature, designing new ones, relying on traditional ones.

6. Formation of a new type of relationship between the teacher and students, education of the creative principles of the individual.

7. Search for new lesson structures, modeling other forms of conducting classes.

Literature

literary education creativity class

1. Bogdanova O.Yu. Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature: Textbook for students of pedagogical universities; Ed. O.Yu.Bogdanova. - M.: Publishing Center "Academy", 1999.

2. Lvov M.R. et al. Methods of teaching the Russian language in primary school: Proc. Allowance for students. Higher Ped. Proc. institutions / M.R. Lvov, V.G. Goretsky, O.V. Sosnovskaya. - M.: Publishing Center "Academy", 2000.

3. Omorokova M.I. Basics of teaching reading to younger students: Tutorial for students of pedagogical universities. - M.: Ventana-Graf, 2005.

4. Russian language in primary grades: Theory and practice of teaching: Textbook for students of pedagogical educational institutions on special. "Pedagogy and methods of early. education” / M.S. Soloveychik, P.S. Zhedek, N.N. Svetlovskaya and others; Under the editorship of M.S. Soloveychik. - M.: Publishing Center "Academy". 1997.

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The content of the methodology of primary literary education. Goals and objectives of literary education. The main stages of the literary development of schoolchildren

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