Formation of creative abilities of younger students. Types of art that stimulate the creative activity of the child

Department of labor and social protection of the population of the city of Moscow

State budgetary educational institution Moscow city

"Boarding school №1 for education and rehabilitation of the blind"

Department of labor and social protection of the population of the city of Moscow

Report on the topic:

« Development of creative abilities

in elementary school classes"

Compiled by:

Primary school teacher: Pereskokova A.V.

Moscow 2017

Introduction

Conclusion

Applications

Introduction

Primary school age is a particularly important period of the psychological development of the child, the intensive development of all mental functions, the formation of complex activities, laying the foundations of creative abilities, the formation of the structure of motives and needs, moral standards, self-esteem, elements of volitional regulation of behavior. Creativity is a complex mental process associated with the character, interests, abilities of the individual. Imagination is his focus. A new product received by a person in creativity can be objectively new (a socially significant discovery) and subjectively new (a discovery for oneself). The development of the creative process, in turn, enriches the imagination, expands the knowledge, experience and interests of the child. Creative activity develops the feelings of children, contributes to a more optimal and intensive development of higher mental functions, such as memory, thinking. perception, attention. The latter, in turn, determine the success of the child's studies. Creative activity develops the personality of the child, helps him to assimilate moral and ethical norms. Creating a work of creativity, the child reflects in them his understanding of life values, his personal properties. Children of primary school age love to make art. They enthusiastically sing and dance, sculpt and draw, compose fairy tales, and are engaged in folk crafts. Creativity makes a child's life richer, fuller, more joyful. Children are able to engage in creativity regardless of personal complexes. An adult, often critically evaluating his creative abilities, is embarrassed to show them. Each child has his own, unique traits that can be recognized early enough.

The main provisions of the theory of creativity are set out in the works of M.M. Bakhtin, modified by V.S. Bibler and S.Yu. Kurganov. A great contribution to the study of creativity was made by numerous domestic and foreign studies (L.S. Vygotsky, S.L. Rubinshtein, K.A. Abulkhanova-Slavskaya, A.V. Brushlinsky, A.N. Leontiev, D.N. Uznadze and others; Lindsay G., Hall K.C., Thompson R.F.). In the research of PY. Galperin, V.V. Davydova, L.V. Zankova, Ya.A. Ponomareva, D.B. Elkonin and others showed that different characteristics of thinking junior schoolchildren directly dependent on the organization educational process, from the content of training. Of interest are the studies of creativity by foreign scientists (R. Torrens, K. Taylor, E. Rowe, K. Cox, R. May, etc.), who consider it as the highest form of thinking. The essence of creativity as an integral phenomenon is widely represented in numerous studies by a number of domestic scientists (D.B. Bogoyavlenskaya, E.A. Golubeva, I.V. Druzhinin, N.S. Leites, A.M. Matyushkin. E.L. Yakovleva and etc.). Cognitive interest, activity, independence and creativity of students are considered in the works (D.B. Bogoyavlenskaya, V.S. Danyushenkov, P.I. Pidkasisty, Ya.A. Ponomarev, T.I. Shamova, E.A. Yakovleva).

The study of the development of creative abilities requires the identification of the conditions in which this process is carried out, that is, the developing environment. Separate aspects of this problem have been studied in the framework of studies devoted to "pedagogy of the environment" (S.T. Shatsky), "the social environment of the child" (P.P. Blonsky), "educational environment" (Y.A. Komensky, J.J. Rousseau , I.G. Pestalozzi, D. Locke), " environment"(P.P. Blonsky, Z.N. Ginzburg, A.S. Makarenko, S.M. Reeves, V.N. Soroka-Rossinsky, S.T. Shatsky and others).

However, the possibilities for the creative development of students, embedded in the content of modern programs, are not fully used by elementary school teachers.

The goal is to theoretically substantiate and determine the pedagogical conditions for the development of creative abilities in the process of labor training.

Tasks:

1. To carry out a theoretical analysis of the problem of developing students' creative abilities.

2. Highlight the features of the development of creative abilities in younger students.

To carry out the selection of the content and methods for developing the creative abilities of younger students in the lessons of labor training

To develop a system of creative tasks as a means of developing the creative abilities of younger schoolchildren in labor training lessons.

The object of the study is the development of creative abilities in younger students.

The subject is the pedagogical conditions for the development of creative abilities in younger schoolchildren in the process of labor training.

Research methods:

observation,

·conversation,

free conversations

Games for the development of creative abilities

Chapter 1. Theoretical foundations for the development of creative abilities in younger students

.1 The essence of the concept of "creativity"

Analysis of the problem of the development of creative abilities is determined by the content that is embedded in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, and write music. However, revealing the essencecreative abilities, their structure and characteristic features, determines the consideration of the concepts of "creativity" and "ability".

To date, in the philosophical, psychological, pedagogical literature, there are various approaches to the definition of creativity. The main difficulty is associated primarily with the absence of a directly operational, psychological content of this concept; this can explain the use so far of the definition of creativity only by its product - the creation of a new one. Philosophers define creativity as necessary condition development of matter, the formation of its new forms, along with the emergence of which the forms of creativity themselves change. The Philosophical Encyclopedia defines creativity in this way: "Creativity is an activity that generates something new that has never been before."

Psychological Dictionary interprets creativity as "an activity that results in the creation of new material and spiritual values ... It implies that the individual has abilities, motives, knowledge and skills, thanks to which a product is created that is novel, original, unique" .

Pedagogy defines creativity as "the highest form of activity and independent activity person. Creativity is judged by its social significance and originality (novelty)."

In fact, creativity, according to G.S. Batishchev is "the ability to create any fundamentally new opportunity".

Creativity can be considered in various aspects: the product of creativity is what is created; the creative process - how it is created; the process of preparing for creativity - how to develop creativity.

Creativity products are not only material products, but also new thoughts, ideas, solutions. Creativity is the creation of something new in different plans and scales. Creativity characterizes not only socially significant discoveries, but also those that a person makes for himself. Elements of creativity are also manifested in children in the game, work, educational activities, where there is a manifestation of activity, independence of thought, initiative, originality of judgments, creative imagination.

From the point of view of psychology and pedagogy, the very process of creative work, the study of the process of preparation for creativity, the identification of forms, methods and means of developing creativity are especially valuable. Creativity is purposeful, persistent, hard work. It requires mental activity, intellectual abilities, strong-willed, emotional traits and high performance.

According to foreign authors, creativity is:"… fusion of perceptions carried out in a new way" (McCallar)," the ability to find new connections" (Kyuubi)"… appearance of new works" (Murray)" activity of the mind leading to new insights" (Gerard)" transformation of experience into a new organization" (Taylor) .

The American scientist P. Hill defines creativity as "a successful flight of thought beyond the unknown". Of all foreign concepts and theories, humanistic psychology is closest in its positions to the views of most domestic psychologists who study creativity. Its representatives (A. Maslow, K. Rogers) believe that creativity is the ability to deeply understand one's own experience, it is self-actualization, self-expression, strengthening oneself through the realization of one's inner potential.

It is not possible within the framework of this study to consider the views on the subject of defining the concept of creativity, even of our most famous psychologists - they all differ so much from each other, so the subject of study is complex and multifaceted. Let's note the most fundamental positions.

ON THE. Berdyaev in his work "The Meaning of Creativity" defines creativity as the freedom of the individual, and the meaning of creativity is the emotional experience of the presence of a contradiction and the search for ways to resolve it. IN AND. Strakhov characterizes creativity through the unity of labor and talent, highlighting, respectively, two aspects: activity and related to the creative abilities of a person. The Soviet psychologist A. Mateiko believes that the essence of the creative process lies in the reorganization of existing experience and the formation of new combinations on its basis. According to E.V. Ilyenkov, creativity is a dialogue, even because, without having a decided result, it is a subject-subject search. And further, many researchers associated creativity with dialogue, with the presence of a situation of uncertainty, problematicness, with the resolution of real contradictions. In the interpretation of Ya.A. Ponomarev's creativity is seen as "interaction leading to development" . Creativity manifests itself, develops and improves in activity under the influence of motivational and need-based attitudes, which constitute the basic properties of a person, the basis of her life position (G.S. Altshuller, Sh.A. Amonashvili, L.S. Vygotsky).

L.S. Vygotsky said that the highest expression of creativity is still available only to a few selected geniuses of mankind, but in the everyday life that surrounds us, creativity is a necessary condition for existence. Everything that goes beyond the limits of routine and contains at least a fraction of the new owes its origin creative process person.

The phenomenology of creativity can be divided into three main types, which correspond to the types of creativity:

Stimulus-productive - activity can be productive, but this activity is determined every time by the action of some external stimulus.

Heuristic - activity takes on a creative character. Having a sufficiently reliable way of solving, a person continues to analyze the composition, structure of his activity, compares individual tasks with each other, which leads him to the discovery of new original, outwardly more ingenious ways of solving. Each regularity found is experienced as a discovery, a creative discovery, a new, "own" way that will allow solving the tasks;

Creative - an independently found empirical pattern is not used as a solution, but acts as a new problem. The patterns found are subjected to proof by analyzing their original genetic basis. Here the action of the individual acquires a generative character and more and more loses the form of a response: its result is wider than the original goal. Thus, creativity in the narrow sense of the word begins where it ceases to be only an answer, only a solution to a predetermined task. At the same time, it remains both a solution and an answer, but at the same time there is something “beyond that” in it, and this determines its creative status.

Currently, scientists distinguish two levels of abilities:

reproductive (rapid assimilation of knowledge and mastery of certain activities according to the model),

creative (the ability to create a new original with the help of independent activity).

The same person may have different abilities, but one of them may be more significant than others. On the other hand, different people have the same abilities, but differ in their level of development.

As a result of experimental studies, among the abilities of the individual, the ability of a special kind was singled out - to generate unusual ideas, deviate in thinking from traditional patterns, quickly resolve problem situations. This ability was called creativity (creativity).

Creative abilities are not directly related to the level of general and special abilities, which are a real means of successful implementation of activities, but do not unequivocally determine the creative potential of an individual. Their contribution is realized only by being refracted through the motivational structure of the personality, its value orientations, i.e. there are no creative abilities that exist in parallel with general and special (Gilford's separation of the IQ and creativity).

The concept of creativity is often used as a synonym for creativity (from the Latin Creatio - creation, creation).

P. Torrance describes creativity in terms of thinking as "the process of feeling difficulties, problems, gaps in information, missing elements, bias in something; building guesses and formulating hypotheses regarding these shortcomings, evaluating and testing these guesses and hypotheses, the possibility of revising them and verification and, finally, generalization of the results.

K. Taylor, like J. Guilford, considers creativity not as a single factor, but as a combination of different abilities, each of which can be represented to a different degree.

In J. Renzulle, creativity is also understood as the features of a person's behavior, expressed in original ways of obtaining a product, achieving a solution to a problem, new approaches to the problem from different points of view.

S. Mednik considers creativity as a process of redesigning elements in new combinations that meet the requirements of utility and some special requirements. In his opinion, the more distant the elements of the problem are taken, the more creative the process of solving it is.

F. Barron understands creativity as the ability to bring something new into experience, and M. Wollach - the ability to generate original ideas in terms of solving or posing new problems.

Based on the foregoing, there are at least three main approaches to the essence of creative (creative) abilities:

. As such, there are no creative abilities. Intellectual giftedness is a necessary but not sufficient condition for the creative activity of a person. main role Motivations, values, and personality traits play a role in activating creative behavior (A. Tannenbaum, A. Oloh, A. Maslow, and others). Among the main features of a creative personality, these researchers include cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

The procedural-activity approach of D.B. Epiphany. Creativity is considered by her as the activity of the individual, which consists in the possibility of going beyond the given. It presupposes the coincidence of motive and purpose, i.e., enthusiasm for the subject itself, preoccupation with activity. In this case, the activity is not suspended even when the initial task is completed, the initial goal is realized. We can say that there was a development of activity on the initiative of the individual himself, and this is creativity.

. Creativity is an independent factor, independent of intelligence (J. Gilford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a milder version, this theory states that there is little relationship between the level of intelligence and the level of creativity.

. A high level of intelligence implies high level creative abilities and vice versa. The process of solving creative problems is the interaction of other processes (memory, thinking, etc.). Such a solution to the problem corresponds to one of the approaches identified by V.N. Druzhinin: there is no creative process as a specific form of mental activity, creative abilities are equated with general abilities. This point of view is shared by almost all experts in the field of intelligence (F. Galton, D. Wexler, R. Weisberg, G. Eysenck, L. Theremin, R. Sternberg, etc.).

The concept of "creativity" can be defined based on the provisions of such researchers as V.N. Myasishchev, A.G. Kovalev, N.S. Leites, K.K. Shatonov, S.L. Rubinstein, V.A. Krutetsky, A.N. Luk, T.I. Artemiev, V.I. Andreev and others.

Creative skills - it is a combination of individual personality traits that determine the possibility of successful implementation of a particular type of creative activity and determine the level of its effectiveness. They are not limited to the individual's knowledge, skills and abilities. Creative abilities are manifested in interest, desire and emotional attitude to creativity, as knowledge, the level of development of logical and creative thinking, imagination, independence and perseverance in creative search and ensures the creation of a subjectively new in a particular area.

Thus, in its most general form, the definition of creative abilities is as follows. Creativity is individual characteristics qualities of a person that determine the success of his performance of creative activities of various kinds.

.2 Features of the development of creative abilities in students at primary school age

schoolboy creative creativity heuristic

From a psychological point of view, primary school age is a sensitive period for the development of creative abilities. Children of primary school age are extremely inquisitive, they have a great desire to learn the world. Adults, encouraging curiosity, imparting knowledge to children, involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity.

In ordinary life, abilities act, first of all, as characteristics of a particular person. Turning to a specific person, especially in the educational process, we see that abilities develop and have an individually unique expression.

According to the content and degree of complexity, it is customary to distinguish:

Elementary (Basic) abilities - a set of individual personality traits as a generalization of mental processes that are common to all people approximately equally;

Complex general abilities, such as the ability to work, learn, nurture, communicate, speak, and others. They are also characteristic of all people, only in varying degrees;

Complex private (special) abilities are already a set of individual personality traits that ensure a person’s success in any field of activity.

By type of activity, there are:

Reproductive (reproducing) providing a high ability to assimilate knowledge, master various types of activities. This type of activity is closely related to our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and actions.

· Creative - ensures the creation of a new, original. The result of creative activity is not the reproduction of impressions or actions that were in the previous experience of a person, but the creation of new images or actions. Creativity is at the core of this activity.

Creative abilities are the individual characteristics of a person's qualities that determine the success of his performance of various creative activities.

Creativity is an amalgamation of many qualities. The question of the components of human creativity is still open, at the moment there are several hypotheses concerning this problem.

A well-known domestic researcher of the problem of creativity A.N. Bow, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:

The ability to see a problem where others do not see it.

· The ability to collapse mental operations, replacing several concepts with one and using more and more informationally capacious symbols.

The ability to apply the skills acquired in solving one problem to solving another.

The ability to perceive reality as a whole, without splitting it into parts.

The ability to easily associate distant concepts.

The ability of memory to produce the right information at the right moment.

· Flexibility of thinking.

The ability to choose one of the alternatives for solving a problem before it is tested.

The ability to integrate newly perceived information into existing knowledge systems.

The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation.

Ease of generating ideas.

· Creative imagination.

· Ability to refine details, to improve the original idea.

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person's creative potential is the following abilities:

The ability to take risks.

Divergent thinking.

· Flexibility in thinking and actions.

· Speed of thinking.

· Ability to express original ideas and invent new ones.

·Rich imagination.

Perception of the ambiguity of things and phenomena.

· High aesthetic values.

· Developed intuition.

All of the above qualities characterize a creative person.

The opposite qualities are stereotyping, stereotyping, inertia, superficiality of thinking. They are important in everyday life, as they allow you to quickly solve common tasks. However, psychological inertia is very harmful in creativity and in the development of creative abilities. After analyzing these and other points of view presented by many scientists and educators on the issue of the components of creative abilities, we can conclude that, despite the difference in approaches to their definition, researchers unanimously single out creative imagination and creative thinking as essential components of creative abilities. Based on this, it is possible to determinethe main directions in the development of children's creative abilities:

Development of productive creativeimagination , which is characterized by such qualities as the richness of the produced images and orientation.

Development of qualitiesthinking , which form creative thinking (creativity); such qualities are associativity, dialectics and systemic thinking.

The thinking of younger schoolchildren is freer than the thinking of older children. It is not yet crushed by dogmas and stereotypes, it is more independent and this quality must be maintained and developed.

One of the indispensable components of creative thinking is originality, it expresses the degree of dissimilarity, non-standard, unexpectedness of the proposed solution among other solutions.

Since one of the signs of creativity is the creation of new useful combinations, the imagination that creates these combinations is the basis of the creative process. It follows from this that imagination is a necessary element of creative activity, which, according to L.S. Vygotsky, provides the following activities for the child:

building an image, the final result of his activity,

creating a program of behavior in a situation of uncertainty, creating images that replace activities,

creation of images of the described objects.

Imagination is a necessary human ability, and at primary school age, the ability to imagine needs special care in terms of development, because at this age it develops especially intensively. In the future, there is a rapid decrease in the activity of this function. Along with a decrease in a person’s ability to fantasize, a person becomes impoverished, the possibilities of creative thinking decrease, and interest in art and science fades.

Younger students carry out most of their vigorous activity with the help of imagination. Their games are still the fruit of the wild work of fantasy, thanks to them, children are enthusiastically engaged in creative activities. Psychological basis learning activity is also creative imagination. When, in the process of learning, children are faced with the need to comprehend abstract material and they need analogies, support with a general lack of life experience, imagination also comes to the aid of the child. More L.S. Vygotsky noted that the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience: the richer the experience, the more material that his imagination has.

The stock of representations of the child must be replenished all the time. This is the task of both teachers and parents. As a result of the constant efforts of adults in this direction, the imagination of the younger student is improving: at first, the images are vague, unclear, and then they become more accurate and definite. If at the beginning of training for the appearance of an image there must be, for example, a picture, then by the 3rd grade in his imagination the student is able to rely on the word. The student is able to write an essay based on the story of the teacher or read in the book.

In elementary school, the child develops creative imagination as the ability to independently create new images based on existing ideas. When a child masters educational activities in elementary school, the child's imagination becomes a more controlled, arbitrary process. In elementary grades, the realism of children's imagination increases. This leads to an increase in the stock of knowledge and the development of critical thinking. The main directions in the development of the imagination of a younger student are the transition to an increasingly correct and complete reflection of reality on the basis of acquired knowledge.

Primary school children love to play artistic creativity. It allows the child to reveal his personality in the most complete free form. All artistic activity is based on active imagination, creative thinking. These features provide the child with a new, unusual view of the world. They contribute to the development of thinking, memory, enrich his individual life experience, which in turn contributes to the development of imagination, creative thinking. Primary school age is a period of significant changes in a child's life, it is determined by the moment of entering school, this is a period from about 6-7 to 9-10 years. During this period, both the physical and psychophysiological development of the child takes place, providing the possibility of systematic learning.

According to psychologists' research, today's first-graders are significantly different from the first-graders of past years. For first graders:

Large differences in passport and physiological age. Various levels of development of emotional and mental readiness for the beginning of studies.

children have extensive, but unsystematic awareness of almost any issue. It is often contradictory, resulting in anxiety and uncertainty.

Today's children have a freer sense of their "I", more independent behavior than children of past years;

the presence of distrust of the words and actions of adults. Not everything said by adults, they take on faith;

The health of modern children is weaker;

Modern children in the majority have ceased to play collective yard games. They were replaced by TV and computer games.

Children come to classes without communication skills, being practically not socialized, poorly understanding how to behave in a peer group, what are the norms of behavior. Collective games and activities help children "find themselves" in the society of their peers.

From the foregoing, we can conclude that this period in a child's life provides excellent opportunities for developing creative abilities. And the creative potential of an adult will largely depend on how these opportunities were used. The small number of people in a society with high creative potential is explained by the fact that in childhood only very few were exposed to conditions conducive to the development of their creative abilities.

It is desirable to create such conditions in any socio-cultural organization, social institution, since it is these institutions that are called upon to solve the problems of education and creative development of its participants.

Analysis of the main psychological neoplasms and the nature of the leading activity of this age period, modern requirements for the organization of education as a creative process, which the student, together with the teacher, in a certain sense build themselves; orientation at this age to the subject of activity and ways to transform it suggest the possibility of accumulating creative experience not only in the process of cognition, but also in such activities as the creation and transformation of specific objects, situations, phenomena, creative application of knowledge gained in the learning process.

In the psychological and pedagogical literature on this issue, definitions of creative activities are given.

Cognition - "... the educational activity of the student, understood as a process of creative activity that forms their knowledge."

Transformation is a creative activity of students, which is a generalization of basic knowledge that serves as a developing beginning for obtaining new educational and special knowledge.

Creation is a creative activity that involves the design by students of educational products in the areas studied.

Creative application of knowledge is the activity of students, which involves the introduction by the student of his own thoughts when applying knowledge in practice.

All this makes it possible to define the concept of "creative activity of younger schoolchildren": a productive form of activity of elementary school students aimed at mastering the creative experience of knowing, creating, transforming, using objects of material and spiritual culture in a new capacity in the process of educational activities organized in cooperation with the teacher.

Chapter 2

.1 The content and methods of developing the creative abilities of younger students in the lessons of labor training

Any activity, including creative, can be represented as the performance of certain tasks. I.E. Unt, defines creative tasks as "... tasks requiring creative activity from students, in which the student himself must find a way to solve, apply knowledge in new conditions, create something subjectively (sometimes objectively) new"

The effectiveness of the development of creative abilities largely depends on the material on the basis of which the task is compiled. Analysis teaching aids elementary school showed that the creative tasks contained in them mainly refer to "conditionally creative", the product of which are essays, presentations, drawings, crafts, etc. Part of the tasks is aimed at developing the intuition of students; finding multiple answerscreative tasks that require resolution of contradictions are not offered by any of the programs used in schools .

The proposed tasks involve the use in the creative activity of younger students mainly of methods based on intuitive procedures (such as the method of enumeration of options, morphological analysis, analogy, etc.). Modeling, a resource approach, and some fantasy techniques are actively used. However, the programs do not provide for the purposeful development of students' creative abilities using these methods.

Meanwhile, for the effective development of the creative abilities of schoolchildrenthe use of heuristic methods should be combined with the use of algorithmic methods of creativity .

Based on the analysis of the literature (G.S. Altshuller, V.A. Bukhvalov, A.A. Gin, M.A. Danilov, A.M. Matyushkin, etc.), the following requirements for creative tasks can be distinguished:

openness (content of a problem situation or contradiction);

Compliance of the conditions with the chosen methods of creativity;

Possibility of different solutions;

taking into account the current level of development;

taking into account the age characteristics of students.

Considering these requirements, we buildsystem of creative tasks , which is understood as an ordered set of interrelated creative tasks, constructed on the basis of hierarchically built methods of creativity, focused onknowledge , creation , transformation and use in a new capacity objects, situations, phenomena and aimed at developing the creative abilities of younger students in the educational process.

The system of creative tasks includestarget, content, activity and result components .

System-forming factor -student identity: his abilities, needs, motives, goals and other individual psychological characteristics, subjective creative experience.

Particular attention is paid tocreative activity the student himself. The content of creative activity refers to its two forms - external and internal. The external content of education is characterized by the educational environment, the internal content is the property of the individual himself, created on the basis of the student's personal experience as a result of his activity.

When selecting the content for the system of creative tasks, 2 factors were taken into account:

1. the fact that the creative activity of younger students is carried out mainly on the problems already solved by society,

2. creative possibilities of the content of primary school subjects.

The content is represented by thematic groups of tasks aimed at cognition, creation, transformation, use of objects, situations, phenomena in a new quality (see Table 1).

Each of the selected groups is one of the components of the creative activity of students, has its ownpurpose, content , involves the use of certainmethods , performs certainfunctions . Thus, each group of tasks is a necessary condition for the student to accumulate subjective creative experience.

1 group - "Knowledge"

The goal is the accumulation of creative experience of cognition of reality.

Acquired Skills:

study objects, situations, phenomena on the basis of selected features - color, shape, size, material, purpose, time, location, part-whole;

to consider in the contradictions that determine their development;

· to model phenomena, taking into account their features, system connections, quantitative and qualitative characteristics, patterns of development.

2 group - "Creation"

The goal is the accumulation by students of creative experience in creating objects of situations, phenomena.

The ability to create original creative products is acquired, which involves:

obtaining a qualitatively new idea of the subject of creative activity;

orientation to the ideal end result of the system development;

· rediscovery of already existing objects and phenomena with the help of elements of dialectical logic.

3 group - "Transformation"

The goal is the acquisition of creative experience in the transformation of objects, situations, phenomena.

Acquired Skills:

simulate fantastic (real) changes in the appearance of systems (shape, color, material, arrangement of parts, etc.);

to model changes in the internal structure of systems;

take into account when changing the properties of the system, resources, the dialectical nature of objects, situations, phenomena.

4th group - "Use in a new capacity"

The goal is the accumulation by students of the experience of a creative approach to the use of existing objects, situations, phenomena.

Acquired Skills:

to consider the objects of the situation, phenomena from different points of view;

find fantastic applications for real-life systems;

carry out the transfer of functions to various areas of application;

get a positive effect by using the negative qualities of systems, universalization, obtaining systemic effects.

The content of groups of creative tasks is presented in table 1 by thematic series.

Table 1. Exemplary thematic series of groups of creative tasks at labor training lessons

Series Content of creative tasks Types of tasks "Theatrical" Creation of theatrical effects, development of costumes, scenery, puppets Cognition Creation Transformation Use in a new capacity natural Cognition Transformation "Paper country" Creation of plots, playing with them with paper crafts Transformation Use in a new capacity "Fantastic plots" Solving the problems of heroes of fantastic works, compiling fantastic plots and crafts for them Cognition Creation Transformation

Creative tasks are differentiated according to such parameters as:

the complexity of the problem situations contained in them,

the complexity of the mental operations necessary to solve them;

forms of representation of contradictions (explicit, hidden).

In this regard, three levels of complexity of the content of the system of creative tasks are distinguished.

Tasks III (initial) level of complexity given to first and second grade students. A specific object, phenomenon or human resource acts as an object at this level. Creative tasks of this level contain a problematic issue or a problematic situation, involve the use of the method of enumeration of options or heuristic methods of creativity and are designed to develop creative intuition and spatial productive imagination.

Tasks of II level of complexity are one step lower and are aimed at developing the foundations of systemic thinking, productive imagination, predominantly algorithmic methods of creativity. Under the object in the tasks of this level is the concept of "system", as well as the resources of systems. They are presented in the form of a vague problem situation or contain contradictions in an explicit form. The purpose of tasks of this type is to develop the foundations of students' systemic thinking.

Tasks I (highest, high, advanced) level of complexity . These are open tasks from various fields of knowledge containing hidden contradictions. Bisystems, polysystems, resources of any systems are considered as an object. Tasks of this type are offered to students in the third and fourth years of study. They are aimed at developing the foundations of dialectical thinking, controlled imagination, and the conscious application of algorithmic and heuristic methods of creativity.

The methods of creativity chosen by students when performing tasks characterize the corresponding levels of development of creative thinking, creative imagination. Thus, the transition to a new level of development of the creative abilities of younger students occurs in the process of accumulation by each student of the experience of creative activity. level - involves the performance of tasks based on the enumeration of options and the accumulated creative experience in preschool age and heuristic methods. Creative methods are used such as:

focal object method

morphological analysis,

method of control questions,

·dichotomy,

synectics,

Separate typical techniques of fantasizing.

II level - involves the performance of creative tasks based on heuristic methods and TRIZ elements, such as:

·method little men,

methods of overcoming psychological inertia,

system operator,

The resource approach

laws of systems development.

Level I - involves the performance of creative tasks based on the TRIZ mental tools, such as:

an adapted algorithm for solving inventive problems,

Techniques for resolving contradictions in space and time,

typical methods of conflict resolution.

Determining the conditions for the effective organization of the artistic and creative activity of children is one of the problems that constantly arouse the interest of researchers and, therefore, is quite often considered in special literature.

The very concept of "condition" is defined as "a circumstance on which something depends."

Most researchers (V.I. Zagvyazinsky, M.V. Koposova, A.V. Moskvina, A.P. Tryapitsina and others) note that creativity in education is possible only under certain conditions, namely:

search needs; positive motivation, variability of ways to organize the assimilation of program material in accordance with the individual abilities of students;

co-creation as the leading type of educational interactions and relationships;

the priority of the integrity of perception, attitude, evaluation of another person and oneself;

awareness and leveling of clichés and stereotypes of thinking and self-expression.

The most significant pedagogical conditions for the development of children's creative activity, according to modern researchers, are:

Change in the nature of the activity;

Atmosphere of goodwill in the educational activities of children;

Team formation.

When organizing artistic and creative activities, it is necessary to remember the importance of choosing a strategy for interaction between the teacher and the students. In practice, as the researchers note, two ways are usually used when choosing an interaction strategy:

development from outside, as intervention in inner world personality, the imposition of developed methods, norms of activity and behavior on him;

development from within, as stimulation of activity, independence, responsibility, manifestation of respect for the individual, disclosure of the possibilities inherent in it, development of creative abilities.

The main condition for the creative development of the individual lies in herself, in her openness to constructive creativity, in psychological security and her freedom.

At the same time, it is necessary to take into account the conditions that negatively affect the course of creative activity, namely: situational and personal.

Situational conditions include: time limit, stress, a state of increased anxiety, a desire to quickly find a solution, weak or strong motivation, setting a specific solution method, self-doubt caused by failures, fear, increased censorship, etc.

To personal conditions: conformism (agreement), self-doubt, emotional depression, dominance of negative emotions, low self-esteem, increased anxiety, personal defense mechanisms, etc.

Therefore, it is important to form qualities conducive to creative thinking: self-confidence, dominance of emotions of joy, risk-taking, a sense of humor, lack of conformity, fear of seeming strange, unusual, love for fantasizing and making plans for the future, etc.

These traits, characteristic of a creative personality, are formed only thanks to democratic style communication. In this case, the teacher takes into account the individual characteristics of the individual, her experience, the specific needs and opportunities, and he must also be objective in his assessments, versatile and proactive in contacts with children.

The most fruitful is communication based on joint enthusiasm for creative activity. The basis of this style is the high professionalism of the teacher. After all, the enthusiasm for creative search is the result of not only communicative activity, but also, to a greater extent, the attitude to pedagogical activity in general.

The most important condition for organizing the artistic and creative activity of schoolchildren, according to many teachers, is the creation of a creative atmosphere, which is created not only by fostering curiosity, a taste for non-standard solutions, the ability to think non-trivially, but also by the need to foster readiness to perceive the new and unusual, the desire to use and implement creative achievements of other people.

.2 Creative tasks as a means of developing creative abilities in younger students

Labor training is a prerequisite and an integral part of the education, upbringing and development of the child at the initial stage secondary school implemented by means of a variety of lesson and extracurricular activities students.

The purpose of labor training is the education of the personality of students on the basis of the formation of labor activity.

M. Levina points out that in the lessons of labor training at school or at home with their parents, and later on their own, children can learn many exciting and useful things: working with paper and embroidery, sewing and making crafts from natural materials, woodworking and modeling from plasticine, they can learn how to burn and sew soft toys, try themselves as a cook or cook, or maybe a child will like to be an actor in a puppet theater and at the same time - the owner of this theater.

Labor is the creative work of a child with various materials, during which he creates useful and aesthetically significant objects and products to decorate everyday life (games, labor, recreation). Such work is a decorative, artistic and applied activity of the child, since when creating beautiful objects, he takes into account the aesthetic qualities of materials on the basis of existing ideas, knowledge, practical experience acquired in the course of work and in art classes.

The content of labor training lessons for first-graders is:

Work with paper, cardboard (application from paper of different textures, in combination with fabrics, natural materials, production of decorative panels, volumetric and planar objects and structures for decorating holidays and entertainment, decorations, souvenirs);

work with natural material (making small and large sculptures, making decorative bouquets from dry and live plants);

work with clay (creating decorative ornaments, making small sculptures, souvenir toys, doll dishes);

work with fabric, threads (decorative appliqué made of fabric, weaving from synthetic yarn, making decorative ornaments and household items, clothes, theater and decorative toys and souvenirs from synthetic fabrics).

For younger students, the most accessible and easily processed material is paper. Working with paper is working with a material that has its own face, with constructive and plastic properties. Making paper products contributes to the development of the muscles of the hands, improves the eye of the child, prepares him for the development of writing skills, promotes the aesthetic development of children, their acquisition of the ability to correctly select combinations of paper colors, shapes and sizes of component parts.

First-graders made various 2D and 3D shapes out of paper. The guys explored the possibilities of using paper by bending, squeezing, tearing it apart, but then combining them and getting a new shape.

The children really liked to make products from strips of paper. This type of work creates great opportunities for children's creativity.

Usually, when receiving paper strips of different lengths and widths, the children immediately began to involuntarily twist, twist, twist, cross, connect one with another, resulting in a variety of compositions. Delightful snow-white paper plastic, magical play of light and shadow, endless creative possibilities and prospects for its use make one wonder and look for new ways to solve artistic images and plots.

If you take two strips of paper of the same color but different sizes, make a ring out of each, connect them, and then add a little imagination, you can make animals for theatrical performance (chicken, pig, cat, hare, etc.) . A cone or a cylinder can be used as a basis for making figures of animals and people.

In natural materials, the children noticed the beauty and consistency of forms, harmony, in addition, they recognized the characteristic features of materials: smell, color, shape, structure. In the future, having a certain experience, they independently answered various questions: what is hard, juicy, soft? What grows on pines and firs? What trees are deciduous and coniferous? What grows in the meadow, in the field? What happens big and small, rounded and sharp? Children not only enriched their vocabulary, but also developed analytical thinking: they sought to correlate their crafts with what they saw, to give them figurative names. There is practically no such natural material (with the exception of poisonous plants) that could not be used for crafts, and there are no established rules on how to use it.

Particularly distinguished were the lessons of working with clay - modeling. Modeling lessons contributed to the formation of such personality traits that are not specific for a person (required only for this and similar work), but generally significant. These classes develop the mental abilities of students, expand their artistic and polytechnical horizons, form moral ideas and contribute to the formation of a creative attitude to the world around them. Particular attention was paid to decorative and applied arts. Children were happy to sculpt decorative toys based on folk patterns, dishes, wall reliefs, decorative masks. First-graders got acquainted with folk crafts. In addition, all these products very clearly gravitate towards real arts and crafts and are connected with life.

Compared with the processing of other materials, working with textiles has its own characteristics. Working with fabric allows you to put into practice interdisciplinary connections. So, students significantly expanded their horizons, vocabulary, got acquainted with the names of tools, materials, labor processes. Making patterns contributed to exercises in calculations, in comparing and working out the concepts of "more-less", "narrower", "shorter", "longer". In the manufacture of products for pattern and processing of parts, which are various geometric figures(squares, rectangles, circles) fixed the geometric material studied in mathematics lessons. When taking measurements, students dealt with numbers. They compared the data obtained with the dimensions of the fabric, performed various calculations. Needlework lessons are also interconnected with drawing lessons. The children learned to select the colors of threads for embroidery, to learn that, depending on the features of the product, its design and purpose, fabrics of the appropriate quality and color are selected. Besides, great importance has a selection of patterns for embroidery, the ability to beautifully finish the product. Practical exercises in the processing of textile materials develop the eye. The quality of work in this case largely depends on the accuracy and accuracy observed when drawing up a pattern, when marking, cutting, stitching and other operations. The processing of textile materials, in comparison with other materials, requires more painstaking and hard work.

Work on sewing and embroidery, weaving attracted children with its results. How much joy the younger schoolchildren received from the bookmarks and napkins they made with their own hands! Making gifts for parents, friends, kids brought no less pleasure. Scroll practical work includes products that, according to their purpose, can be grouped as follows: household, educational, gaming souvenirs and gifts.

Thus, properly organized labor gives children in-depth knowledge of the quality and capabilities of various materials, helps to consolidate positive emotions, stimulates the desire to work and master the peculiarities of craftsmanship, and introduces them to folk decorative art. Therefore, there is every reason to consider labor training as an important element in the harmonious development of children.

At the lessons of labor training, it is necessary to create a relaxed atmosphere that ensures the manifestation of the creative abilities of each student. Business, friendly relations with all the children created a joyful, creative mood in the class.

An important place in the lesson was occupied by informative conversations. During the conversations, she offered to remember, to imagine something related to the creation of our future crafts, tried to captivate the upcoming work.

The emergence of artistic images and their further expression with the help of various materials is a complex, interesting and multifaceted process. An important role is played by students' deep knowledge of the depicted object, phenomenon or event.

The conversation allowed students to more accurately select the material, composition, color of a given topic, express it through their own understanding, showing creative invention and imagination.

Of course, it was impossible to do without individual comments and encouragement. I tried to make them in such a way that they helped to acquire the ability to analyze their actions, correct mistakes, and accurately and accurately complete the task.

The creation of new aesthetically significant objects also requires special knowledge and skills from the teacher, without which his pedagogical activity cannot develop successfully. These include elementary knowledge of technical aesthetics, artistic vision of an object or group of objects, their expressive means, the formation of students' ability to capture the features of the constructive structure of an object, the correspondence of color, shape, material, the ability to represent what they see in a new composition and embody it in a product.

It is important to constantly analyze children's work in order to determine the backlog of individual students, as well as evaluate their work. Teachers often approach this stage of the lesson formally, which is a mistake. From the first lessons, children should get used to discussing their work from different points of view. This will tell them what to look out for next time. The whole class should be involved in the discussion. However, one should be very careful with critical assessments. It is better to focus on real achievements, on positive shifts. Tactless criticism (even if objective) can quickly discourage the desire to improve in such a fragile area as creativity.

Our class coped with this task with ease, showing a good level of imagination development.

The children's work was analyzed according to the following parameters:

By content . How is the work done? According to the model, what kind of creativity was used in creating the image. How typical is the image.

By material . How is the material selected? To what extent does it correspond to the idea, technology? How were its properties, color, shape used?

By execution. How neat is the job done? What is the level of independence? What techniques and technologies were used? What tools and how competently used?

The speed and individual pace of the student's work.

Emotional and aesthetic attitude to work . How emotionally does the child relate to the task, to the process, to the product? What types of tasks do you prefer (subject, plot, decorative)?

What materials and technologies evoke a greater emotional response?

How do children evaluate their own work and the work of others?

According to the level of creative activity.

What new things did the children bring to the image, to the technological process?

To what extent did he manage to show his personal vision?

Practical tasks were performed individually or in groups, sometimes with a preliminary discussion and always with an assessment (check) of the result. A number of tasks were offered to students for homework.

"Observation"

This block of tasks forms the activity of observation, develops the ability to analyze, teaches them to independently perceive the task, plan their actions:

read the diagram, explain its implementation, find similarities and differences between the products offered;

identify and name the techniques used to create this product;

identify the parts of the whole, determine their number

explain the drawings, the purpose of the lines, the dimensions,

compare the patterns with the finished image; think about how to correlate the parts of the whole;

consider what the new technique is, and explain its name;

learn a new technological technique from drawings;

find a given object at home, examine it and describe it in class.

"Opening"

These tasks outline the area of new knowledge that is not presented to the student in finished form. It can only be comprehended by mental effort or practical experimentation. The answers to these questions often do not have an unambiguous solution, and the results of experiments can be very diverse. Such tasks contribute to the development of intuition, self-confidence and are as close as possible in their essence to life situations - when there is a question, but the answer is not known:

guess how to complete these details;

think at what stage and how you need to modify the scheme to achieve a different result;

experiment in a given direction to determine the properties and qualities of the material (or to change them);

find another way to obtain a similar result;

think about how to change the dimensions or proportions of the product;

draw a diagram for the manufacture of a product according to the presented final result;

improve this design;

experimentally determine the amount of material needed for this work;

invent a new way of doing things by combining two or more techniques into one.

"Replacement"

These tasks allow you to better understand the properties of materials, stimulate the search for new ones, and expand your understanding of the possibility of using the technology:

think about what types of materials from your collection you can use in this work;

perform this technique using another material;

find or make yourself the necessary tools or devices to achieve the desired effects in the processing of the material;

look for non-standard materials for your work (for example, from a different group of materials)

think about the properties of the material used in this work.

"Options"

These questions suggest "how you can modify the proposed task, simplifying or complicating it in accordance with your capabilities - the level of preparedness, emotional preferences, etc.:

make changes to the pattern, design, method of manufacturing this product;

create another image (object) from the given details;

try another version of the same technique;

add details to the proposed composition;

offer options for the design of work;

choose a different finish.

"Creation"

The ability to perform creative tasks, on the one hand, is determined by the level of creativity of the student; on the other hand, the constant and systematic performance of such tasks of varying degrees of complexity contributes to an increase in this level:

come up with your own pattern, new design, model, composition that can be done using this technique;

give a generalized name for a series of products or techniques;

figure out how to use the leftover material;

invent an object based on "its skeleton;

make a series of products united by a single idea and style;

determine the scope of the technology;

create a new image, proposed in verbal form;

make a product according to your own sketch;

perform the same image, but in a different technique;

find the objects that are most suitable for the image in this way.

The emergence of an artistic image and its further expression in the language of any kind of art is a complex and multifaceted process. An important role here is played by the students' deep knowledge of the depicted object, phenomenon or event. Therefore, I tried in every possible way to stimulate the comprehensive acquaintance of children with the object of the image as follows:

encouraged children to collect additional information about the object;

invited children to associate an object with a topic being studied at the same time in another subject; to analyze the intended purpose of the craft: what is its meaning, benefit, to whom it is intended, how, in this regard, it should be framed.

This combination of proposed techniques helped to make the lessons varied, positive motivation sustainable, and actions more meaningful.

An important point of the lesson is the analysis and evaluation of children's work. Often teachers formally approach this stage of the lesson, which in my opinion is a big mistake. I am sure that from the very first lessons, children should get used to discussing their work from different points of view. This will tell them what to look out for next time. Students should also be involved in the discussion process. However, one should be very careful with critical assessments. It is better to focus on real achievements, on positive shifts. And tactless criticism (even if objective) can quickly discourage the desire to improve in such a fragile area as creativity.

In the course of the formative experiment, a complex of aesthetic and pedagogical conditions was created (educational-design, socio-emotional, didactic-heuristic, individual-creative), which effectively contributed to the expansion of the range of activities of various processes and types of creative thinking, i.e., its development.

Almost all activities are play-based. But the game is used only as a mechanism for a deeper entry into the essence of the task. It allows the child to perceive complex and difficult work as interesting and understandable.

There was an atmosphere of friendship and cooperation in the class.

Children gradually learn to work in pairs, groups, perform collective work. Since the independent distribution of activities in a team is one of the greatest difficulties, the teacher introduces children to joint creativity gradually.

Conclusion

The current level of development of society, the improvement of production, the rate of change in its technological and material and technological base put before the education system, including its initial link, the task of forming a creative personality. The ability to independently make original decisions, determine the direction of one's activities, ensure one's economic independence on the basis of continuous education and training - these skills will help to adapt to rapidly changing conditions of life and production.

It is difficult to imagine a sphere of life in which a creative person would not be in demand. And the artistic and cognitive activity of younger students is the basis for the development of children's creative abilities.

Imagination significantly expands and deepens the process of cognition. It also plays a huge role in the transformation of the objective world. Before changing something practically, a person changes it mentally.

It should be noted that creativity is one of the most important mechanisms of children's upbringing and self-education. Attention should be paid not to the products of creative activity, but to the formation of abilities.

The system of creative tasks is an open system, which implies the presence of tasks in it that require going beyond curriculum; solving tasks of increased complexity by students; use of extracurricular experience and interests of schoolchildren; interdisciplinary transfer and synthesis of knowledge and methods of activity and, most importantly, independent finding of problems, setting goals for creative cognitive activity.

Apparently, this is the path of collision of the creative side of the intellect, the path of development of inventive and research talent. Our task is to help the child embark on this path. This is what the organization of artistic and cognitive activity of younger schoolchildren serves.

List of used literature

1.Philosophical Encyclopedic Dictionary / Ed. Gubsky E.F., M.: Infa-M., 1997.

2. Aliyeva E.G. Creative giftedness and conditions for its development // Psychological analysis of educational activity M.: IPRAN. 1991. P.7.

.Psychology. Dictionary \ Ed. A.V. Petrovsky -M.: Politizdat, 1990.- 494 p.

4. Teplov B.M. Abilities and giftedness / Problems of individual differences.-M., 1961.-p.9-38.

.Yakovleva E.A. Psychological conditions for the development of creative potential in children of school age. - M., 1998. - 268s.

6. Bibler V.S. Thinking as creativity. - M.: Nauka, 1983.

7. Shumilin A.T. Problems of the theory of creativity. - M., 1989.

.Chrestomathy by general psychology. Psychology of thinking. / under. ed. B. Gippenreiter, V.V. Petukhova.- M., 1981.

9. Brushlinsky A.V. Psychology of thinking and problem learning. M., 1983. 96s.

10. Ponomarev Ya.A. Psychology of creative thinking. - M., 1960.

11. Amonashvili Sh.A. Education. Grade. Mark.-M., 1980., p.7-20.

12.Vygotsky L.S. Pedagogical psychology. - M.: Pedagogy, 1999. - 534 p.

13. Maslow A. Far limits of the human psyche. - St. Petersburg: Ed. Group "Eurasia", 1997.-430s.

14. Bogoyavlenskaya D.B. Intellectual activity as a problem of creativity.-Rostov / D., 1983.-173p.

.J. Holt. Key to children's success. St. Petersburg: "Delta", 1996.-480s.

.Doman G.D. How to develop the intelligence of a child. / Per. from English-M.: Aquarium, 1998.- 320s.

17. Luk A.N. Thinking and creativity. M., Politizdat, 1976.

18. Efremov V.I. Creative upbringing and education of children on the basis of TRIZ. - Penza: Unicon-TRIZ, 2001.

.Vygotsky L.S. Pedagogical psychology //Psychology: classical works. No. 3. - M., 1996.

.Vygotsky L.S. Collected works: In 6 vols. - Vol. 3. - M., 1983.

21. Gomyrina T.A. The development of creative abilities of first-graders in the lessons of artistic work. - M.: VChGK "Russian Center". - 2003

22. Levina M. 365 fun labor lessons / Belyakov E.A.-M.: Rolf, Iris press, 1999.-256p.

DEVELOPMENT OF CREATIVITY

JUNIOR SCHOOLCHILDREN

An important period in the development and formation of personality is the initial period of learning. It is this age that lends itself most to the upbringing and development of the creative abilities of the child.Abilities are understood as a high level of development of general and special knowledge, skills and abilities that ensure the successful performance of various types of activities by a person.Children of primary school age are the most open and receptive and curious. To develop the creative abilities of children, it is necessary to create a situation of interest. Developing education is aimed at ensuring that children not only memorize facts, learn rules and definitions, but also learn rational methods of applying knowledge in practice, transferring their knowledge and skills both to similar and changed conditions.

Creative abilities are manifested in solving creative problems, but the optimal condition for the intensive development of the creative abilities of schoolchildren is their systematic, purposeful presentation in a system that meets the following requirements:

Cognitive tasks should be built mainly on an interdisciplinary, integrative basis and contribute to the development of the mental properties of the individual;

Tasks should be selected taking into account a rational sequence: from reproductive, aimed at updating existing knowledge, to partially search;

The system of cognitive tasks should lead to the formation of the following most important characteristics of creative abilities: fluency of thinking, flexibility of mind, originality, curiosity, the ability to put forward and develop hypotheses.

A creative approach to children will help solve a number of problems, namely: develop independent thinking, imagination, speech, help establish trusting relationships between a child and adults, allow children to communicate freely with each other, show criticism and self-criticism, freely express their opinions.

Abilities are educational and creative. They are different from each other. The former determine the success of training and education, the assimilation of knowledge, skills and abilities by a person, the formation of personality traits. The second - the creation of objects of material and spiritual culture, the production of new ideas, discoveries and inventions, individual creativity, in various fields of human activity. A high level of ability development is called talent.

Primary school age remains favorable for the development of creative abilities. Children, unlike adults, are able to express themselves in various activities - educational, artistic. They are happy to perform on stage, participate in concerts, competitions, exhibitions and quizzes, subject Olympiads. Teachers and adults should remember that the developed creative imagination, typical for children of primary school age, gradually decreases as a person grows up. Along with the decrease in the ability to fantasize, the personality becomes "impoverished", interest in art and science fades.

The range of creative tasks solved at the initial stage of education is unusually wide in complexity - from solving a puzzle, to inventing a new machine or scientific discovery. Their essence is the same: when solving such problems, an experience of creativity occurs, a new path is found, or something new is created. This is where the special qualities of the mind are required, such as observation, the ability to compare and analyze, combine, find connections and dependencies, patterns - all that in the aggregate constitutes creative abilities.

Creativity develops in creative activity, when performing various creative tasks. There is a great “formula” that opens the veil over the secret of the birth of a creative mind: “First, open the truth known to many, then open the truths known to some, and finally, open the truths unknown to anyone.” This rule can be applied to the educational process. According to them, it is possible to develop the creative abilities of a younger student in three stages.

At the first stage, children should gain basic knowledge in a particular area, get acquainted with the concepts and their properties. For the first stage of the development of creative abilities, we offer the following tasks: Classification of objects, Establishment of situations, phenomena for various reasons. See relationships and identify new connections between cause and effect relationships. Identify and highlight the opposite features of the subject systems. to do the contemplation various systems in development, to form contradictions. Separate the contradictory properties of the objects of the sentence of a predictive nature. Represent spatial objects in space and time.

At the second stage, children are offered tasks based on the previous stage. When children have an idea about certain concepts, they can be offered to make drawings for poems; tours; tasks such as: colorful design of essays in the Russian language, etc.; compiling crossword puzzles; participation in didactic and plot-role-playing games in the classroom and after school hours; in competitions, olympiads, etc.

At the third stage, children are offered tasks in which they themselves are the creators of the "new product". Here, children can be offered the following tasks: draw a car of the future, come up with the new kind chocolate, compose a riddle, a fairy tale, etc.

For the development of creative abilities of children of primary school age, only the first two stages can be used, but for the best result in the development of creative abilities, the teacher's work should be built taking into account all of the above three stages. Most importantly, when choosing creative tasks, the following requirements should be considered:

Daily and systematic inclusion of creative tasks and exercises in the educational process; - try to use the creative potential of the child in accordance with the level of his development (feasibility of performing a creative task); - creative tasks should gradually become more difficult; - when evaluating the creative work of students, note the positive aspects (the shortcomings of the work performed by the child should be spoken about correctly, since a sharp remark can discourage the student from doing creative tasks in the future); - involve the family in the performance of creative tasks. Conduct outreach to parents.

Each teacher who strives to develop the student's creative abilities can use the following types of lessons in their practice:

creative workshops;

integrated lessons;

extracurricular work ( cool watch organization of class and family holidays).

Integrated lessons play a very important role in the development of creative abilities. Integration is a means that provides a holistic knowledge of the world and the ability of a person to think systematically when solving practical problems. During an integrated lesson, children try to reveal their creative potential more fully, they feel more relaxed. When using integrated lessons, the following positive aspects of integration can be distinguished:

1. Thanks to integration, a more active and comprehensive picture of the world is formed in the minds of students.

2. The guys begin to actively apply their knowledge in practice, because knowledge more easily reveals its applied nature.

3. The teacher sees and reveals his subject in a new way, more clearly realizing its relationship with other sciences.

4. Integrated lessons allow the teacher to reduce the time for studying individual topics, eliminate duplication of material in different subjects, pay more attention (in various forms) to the goals that the teacher highlights in this moment learning (thinking creativity, etc.).

5. Integrated lessons relieve fatigue.

6. An integrated lesson provides a completely new psychological climate in the learning process and creates new conditions for the activity of the teacher and students.

A special role in the development of creative abilities is played by the preparation and holding of class holidays. AT modern world there are many different proposals for holding holidays, but the most memorable are those events where children themselves are actors. During the preparation for the holidays, students become liberated, they make their own costumes and make scenery for skits, compose contests for their classmates and parents. The main task in this work is to attract more students to work so that no one is left behind. Very often, creative tasks require the child to use special abilities, for example, the student is offered to make a drawing for one of the literary works. Not every child can do the job very well, but at the same time everyone wants his work to be the best. In such situations, parents can come to the aid of a younger student. Therefore, the importance of the attitude of the older generation to the problems of developing creative abilities is great. Some parents can contribute to the development of creative abilities, while other parents, with their indifferent attitude, can discourage the child from performing creative tasks and creative abilities will gradually fade away. In this case, the teacher needs to conduct explanatory work. In this regard, I offer you recommendations that can be discussed at the parent meeting:

Answer your child's questions honestly and patiently.

Take your child's questions and statements seriously.

Provide a room, a corner exclusively for him.

Make a stand where the child can show their work.

Don't scold the mess if it's related to creativity.

Show the child that he is perceived, of course, as he is, and not for success or achievement.

Assign feasible tasks and worries.

Take it on trips to interesting places.

Help your child communicate with children of different cultural backgrounds.

Do not compare your child with others, while pointing out his negative qualities.

Do not humiliate or let him feel that he is worse than you.

Learn to think for yourself.

Provide games, books...for your favorite activities.

Encourage your child's imagination, fantasies, dreams.

Get used to reading.

Be attentive to the needs of the child.

Find time each day to be alone with your child.

Include your child in family discussions.

Learn to communicate with people of all ages.

Design experiments with children.

Don't stop playing with junk.

Do not limit the topics of discussion with children.

Give children the opportunity to make their own decisions.

Summarizinghis article suggests the following conclusions:

each teacher needs to develop students' creative abilities, since it is easier for a creative person to adapt in society and resist negative circumstances, to find positive ways out of difficult situations, he is capable of self-realization of his abilities, self-development.

It is possible to develop the creative abilities of younger students both in the classroom and outside of school hours. Offering them a variety of creative tasks, there is a formation of such important personal qualities as responsibility, independence, there is an interest in school subjects. Taking part in competitions, children begin to understand the importance of the educational process. The development of creative abilities in primary school age is influenced by the creative approach of the teacher to pedagogical activity and the attitude of the family. Thus, working on the development of the creative potential of younger students, we ultimately get a comprehensively harmoniously developed personality, able to quickly adapt to the rapidly changing conditions of the modern world.

List of used literature:

Azarova L.N. How to develop the creative individuality of younger students // Elementary School, 1998, No. 4 pp. 80-81.

Afonina R. N.//Magazine "Primary School", No. 6, 2007 (p.56-60).

Galperin P.Ya. Staged formation as a method of psychological research//Actual problems developmental psychology- M., 1987.

Ilyichev L.F. , Fedoseev N.N. Philosophical Encyclopedic Dictionary, M. 1983. . P.649. 5. Merlin Z.S. Psychology of individuality - M. - 1996. P.36.

Mironov N.P. Ability and giftedness in primary school age. // Primary school. - 2004 - No. 6. С33-42.

Nemov R.S. Psychology-M.-2000, p.679.

Tyunikov Y. Scenario approach in pedagogical influence // Pedagogical technique, 2004, №2, p. 87-88.

Khutorsky A.V. Development of creative abilities. - M. Vlados, -2000 - p.22.

Federal Agency for Education

Kuzbass State Pedagogical Academy

Department of Humanitarian Disciplines and Teaching Methods

Final qualifying work

Development of creative abilities of younger students in the lessons of literary reading

female students of the 5th year of the 1st group OFO

Shipunova Anastasia Vladimirovna

Novokuznetsk 2009

Introduction

Chapter I. Theoretical foundations of the problem of developing the creative abilities of younger students

1.2 Analysis of practical experience development of creative abilities of younger students

Conclusions on Chapter I

Chapter II. Organizational and pedagogical conditions for the development of creative abilities of younger students

2.1 Development of creative abilities of younger students in the process of performing creative tasks

Conclusions on Chapter II

Conclusion

Bibliography

Appendix

Introduction

The problem of developing the creative abilities of younger students is the basis, the foundation of the learning process, is "eternal" pedagogical problem which over time does not lose its relevance, requiring constant, close attention and further development. Today in society, there is a particularly acute need for people who are enterprising, creative, ready to find new approaches to solving urgent socio-economic and cultural problems, able to live in a new democratic society and be useful to this society. In this regard, the problem of developing the creative activity of the individual is of particular relevance today. Creative personalities at all times determined the progress of civilization, creating material and spiritual values that are distinguished by novelty, unconventional, helping people to see the unusual in seemingly ordinary phenomena. But it is precisely today that the educational process is faced with the task of educating a creative personality, starting from elementary school. This task is reflected in alternative educational programs, in innovation processes taking place in modern school. Creative activity develops in the process of activity that has a creative nature, which makes students learn and wonder, find a solution in non-standard situations. Therefore today in pedagogical science and practice, there is an intensive search for new, non-standard forms, methods and techniques of teaching. Non-traditional types of lessons, problematic teaching methods, collective creative activities in extracurricular activities, which contribute to the development of creative activity of younger students, are becoming widespread.

Studies of the features of the development of creative activity of a younger schoolchild were carried out in the works of L.S. Vygotsky, B.M. Teplova, S.L. Rubinstein, N.S. Leites, teachers Sh.A. Amonashvili, G.I. Schukina, V.N. Druzhinina, V.D. Shadrikova, I.F. Kharlamov and others. Among the various means of developing the creative activity of younger students, Russian language lessons and reading in the primary grades occupy a special place.

The relevance stated in the final qualifying work is determined by the need of society for creative, active people and the insufficient use of various means in the lessons of the Russian language and reading, aimed at developing creative abilities. The importance and necessity of developing the creative activity of students in practice primary education determined the choice of the research topic "Development of creative abilities in the lessons of literary reading".

The purpose of the study: to identify and scientifically substantiate the organizational and pedagogical conditions for the development of creative abilities of younger students in the lessons of literary reading.

Object of study: the development of creative abilities of younger students.

Subject of study: the process of developing the creative abilities of younger students in reading lessons.

Research hypothesis: the development of the creative abilities of younger students in reading lessons will be effective if:

A truly creative atmosphere is created, conducive to the free manifestation of the child's creative thinking;

The inclusion of younger schoolchildren in creative activities, in the process of which creative tasks are solved, is ensured;

The choice of forms and methods of development of creative abilities is carried out;

During the study, the following tasks were solved:

1. Determine the psychological and pedagogical essence of the process of developing the creative abilities of younger students.

2. Determine the criteria and levels of development of creative abilities of younger students.

3. To analyze the practical experience of developing the creative abilities of younger students.

4. To identify effective conditions for the development of creative abilities of younger students in the lessons of literary reading.

Research methods: study and analysis of psychological and pedagogical literature on the research problem; pedagogical observation; questioning; conversations; psychological and pedagogical experiment; mathematical processing of experimental data.

The basis of our experimental study is the MOU "Sidorovskaya General Education School".

Chapter I. Theoretical foundations of the problem of developing the creative abilities of younger students.

1.1 Psychological and pedagogical essence of the concepts of "creative activity," creative abilities "of younger students

Creativity is not a new subject of study. The problem of human abilities has aroused great interest of people at all times. The analysis of the problem of the development of creative abilities will largely be determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really?

Obviously, the concept we are considering is closely related to the concept of "creativity", "creative activity". The opinions of scientists about what is considered creativity are contradictory. In everyday life, creativity is usually called, firstly, activity in the field of art, secondly, design, creation, implementation of new projects, thirdly, scientific knowledge, the creation of the mind, fourthly, thinking in its highest form, beyond the limits of what is required to solve the problem that has arisen in already known ways, manifesting itself as imagination, which is a condition for mastery and initiative.

"Philosophical Encyclopedia" defines creativity as an activity that generates "something new, never before." The novelty resulting from creative activity can be both objective and subjective. Objective value is recognized for such products of creativity, in which still unknown laws of the surrounding reality are revealed, connections between phenomena that were considered unrelated to each other are established and explained. The subjective value of creative products takes place when the creative product is not new in itself, objectively, but new for the person who first created it. These are the products for the most part. children's creativity in the field of drawing, modeling, writing poetry and songs. In modern studies of European scientists, "creativity" is defined descriptively and acts as a combination of intellectual and personal factors. .

So, creativity is an activity, the result of which are new material and spiritual values; the highest form of mental activity, independence, the ability to create something new, original. As a result of creative activity, creative abilities are formed and developed.

What is "creativity" or "creativity"? So, P. Torrens understood creativity as the ability to heighten the perception of shortcomings, gaps in knowledge, disharmony. In the structure of creative activity, he singled out:

1. perception of the problem;

2. search for a solution;

3. the emergence and formulation of hypotheses;

4. hypothesis testing;

5. their modification;

6. finding results.

It is noted that such factors as temperament, the ability to quickly assimilate and generate ideas (not to be critical of them) play an important role in creative activity; that creative solutions come at a moment of relaxation, distraction of attention.

The essence of creativity, according to S. Mednik, is in the ability to overcome stereotypes at the final stage of mental synthesis and in the use of a wide field of associations.

D.B. Bogoyavlenskaya singles out intellectual activity as the main indicator of creative abilities, which combines two components: cognitive (general mental abilities) and motivational. The criterion for the manifestation of creativity is the nature of the person's performance of the mental tasks offered to him.

I.V. Lvov believes that creativity is not a surge of emotions, it is inseparable from knowledge and skills, emotions accompany creativity, inspire human activity, increase the tone of its flow, the work of a human creator, give him strength. But only strict, proven knowledge and skills awaken the creative act.

Thus, in its most general form, the definition of creative abilities is as follows. Creativity is the individual psychological characteristics of the individual, which are related to the success of any activity, but are not limited to knowledge, skills, skills that have already been developed by the student.

Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, etc. Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem.

Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the famous American psychologist J. Gilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:

1. Quickness - the ability to express maximum amount ideas (in this case what matters is not their quality, but their quantity).

2. Flexibility - the ability to express a wide variety of ideas.

3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).

4. Completeness - the ability to improve your "product" or give it a finished look.

A well-known domestic researcher of the problem of creativity A.N. Luk, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:

1. The ability to see the problem where others do not see it.

2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.

3. The ability to apply the skills acquired in solving one problem to solving another.

4. The ability to perceive reality as a whole, without splitting it into parts.

5. The ability to easily associate distant concepts.

6. The ability of memory to give out the right information at the right moment.

7. Flexibility of thinking.

8. The ability to choose one of the alternatives for solving a problem before it is tested.

9. The ability to incorporate newly perceived information into existing knowledge systems.

10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation. Ease of generating ideas.

11. Creative imagination.

12. The ability to refine the details, to improve the original idea.

Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that have developed in the process of human history

1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories. The ability to see the whole before the parts.

2. Supra-situational - transformative nature of creative solutions, the ability, when solving a problem, not just to choose from alternatives imposed from the outside, but to independently create an alternative.

3. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

1. The ability to take risks.

2. Divergent thinking.

3. Flexibility in thought and action.

4. Speed of thinking.

5. The ability to express original ideas and invent new ones.

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

8. High aesthetic values.

9. Developed intuition.

Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that, despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.

The activation of creative activity is achieved, according to A. Osborne, due to the observance of four principles:

1) the principle of exclusion of criticism (you can express any thought without fear that it will be recognized as bad);

2) encouraging the most unbridled association (the wilder the idea, the better);

3) requirements that the number of proposed ideas be as large as possible;

4) recognition that the ideas expressed are not anyone's property, no one has the right to monopolize them; each participant has the right to combine the ideas expressed by others, modify them, “improve” and improve.

D.N. Druzhinin believes that in order to intensify creative activity, it is necessary:

1) the lack of regulation of subject activity, more precisely, the absence of a model of regulated behavior;

2) the presence of a positive model of creative behavior;

1. The ability to take risks.

2. Divergent thinking.

3) Flexibility in thinking and acting. creating conditions for imitating creative behavior and blocking manifestations of aggressive and deductive behavior;

4) social reinforcement of creative behavior.

The creative activity of the student increases his involvement in the educational process, contributes to the successful assimilation of knowledge, stimulates intellectual efforts, self-confidence, and fosters independence of views. M.N. Skatkin considers separate ways of activating creative activity:

1) problematic presentation of knowledge;

2) discussion;

3) research method;

4) creative work of students;

5) creating an atmosphere of collective creative activity in the classroom.

In order to successfully activate the creative activity of schoolchildren, the teacher needs to see the effectiveness and productivity of his work. To do this, it is necessary to monitor the dynamics of the manifestation of the creative activity of each child. The elements of creativity and interaction of the elements of reproduction in the activity of a schoolchild, as well as in the activity of a mature person, should be distinguished according to two characteristic features:

1) by the result (product) of activity;

2) according to the way it proceeds (process).

It is obvious that in educational activity the elements of students' creativity are manifested, first of all, in the peculiarities of its course, namely, the ability to see the problem, find new ways to solve specific practical and educational problems in non-standard situations.

Thus, we can conclude that creative activity is activated in a favorable atmosphere, with benevolent assessments from teachers, and encouragement of original statements. An important role is played by open-ended questions that encourage students to think, to search for a variety of answers to the same questions of the curriculum. It is even better if the students themselves are allowed to ask such questions and answer them.

Creative activity can also be stimulated through the implementation of interdisciplinary connections, through an introduction to an unusual hypothetical situation. In the same direction, questions work, when answering which it is necessary to extract from memory all the information available in it, to creatively apply them in the situation that has arisen.

Creative activity contributes to the development of creative abilities, an increase in the intellectual level.

Thus, by creativity we understand the totality of the properties and qualities of a person necessary for the successful implementation of creative activity, allowing in the process of it to perform the transformation of objects, phenomena, visual, sensual and mental images, to discover something new for oneself, to seek and make original, non-standard solutions .

1.2 Analysis of practical experience in the development of creative abilities of younger students

Improving the quality of mastering the knowledge of younger students is one of the most important tasks of the school. Many teachers achieve its implementation not due to the additional burden on students, but by improving the forms and methods of teaching. In solving this issue, teachers and methodologists attach great importance to the development of the interest of younger students in learning through the formation of creative abilities in the process of work. It is in the first years of education that, due to the psychological characteristics of children of primary school age, their creative abilities are actively developing. In particular, in order to solve the developmental learning goals, the primary school teacher A.V. Nikitina organizes the systematic, purposeful development and activation of creative activity in a system that meets the following requirements:

Cognitive tasks should be built on an interdisciplinary basis and contribute to the development of the mental properties of the individual (memory, attention, thinking, imagination);

Tasks, tasks should be selected taking into account the rational sequence of their presentation: from reproductive, aimed at updating existing knowledge, to partially exploratory, focused on mastering generalized methods of cognitive activity, and then to creative ones, which allow considering the studied phenomena from different angles;

The system of cognitive and creative tasks should lead to the formation of fluency of thinking, flexibility of mind, curiosity, the ability to put forward and develop hypotheses.

In accordance with these requirements, the classes of A.V. Nikitina include four successive stages:

1) warm-up;

2) development of creative thinking;

3) fulfillment of developing partially search tasks;

4) solving creative problems.

These assignments are given to the entire class. When they are done, only success is measured. Such tasks are not evaluative, but educational and developmental in nature. Classes are held at a fairly high pace, frontally. According to A.V. Nikitina, such work creates a spirit of competition, concentrates attention, develops the ability to quickly switch from one type to another.

Under the leadership of E.L. Yakovleva developed and tested a developing program aimed at enhancing the creative activity of younger students. The main condition for creative work, in her opinion, is the organization of interaction between children and adults in accordance with the principles of humanistic psychology:

1) Admiration for each student’s idea is similar to admiration for the first steps of a child, involving:

a) positive reinforcement of all ideas and answers of the student;

b) the use of error as an opportunity for a new, unexpected look at something familiar;

c) maximum adaptation to all statements and actions of children.

2) Creation of a climate of mutual trust, non-estimation, acceptance of others, psychological security.

3) Ensuring independence in choice and decision-making, with the ability to independently control their own progress.

When studying under this program, the principles of developmental education (A.M. Matyushkin): problematic, dialogic, individualization, were attached to the following content of the program: understanding one’s own and others’ thoughts, feelings and actions, interpersonal relationships and laws of development of the world:

1. The use of intellectual tasks that can be solved by heuristic methods.

2. Exchange of opinions and questions between members of the group, between the group and the facilitator.

3. Acceptance of various aspects of creativity: oral and written responses, responses that have a literary or non-literary form, behavior and reactions to another person.

To equip children with the means of creative self-expression, this program uses a variety of material: literary works, problem situations, dramaturgy of situations invented by children, conflict situations from life and literature, which entail the ability to recognize and express their own emotional states, respond differently to one and the same situation.

Under the leadership of N.B. Shumanova developed and tested a program for the development of creative thinking of younger students in accordance with the requirements for the construction of educational programs for gifted children:

The global, fundamental nature of the topics and problems studied by students;

Interdisciplinary approach in formulating problems;

Integration of topics and problems related to different fields of knowledge;

Content saturation; focus on the development of productive, critical thinking and so on.

The specific content of the course is based on the materials of Russian and foreign history, the history of culture, literature, art, Russian and foreign natural science. The predominant teaching method is problem-dialogical as the most appropriate for the nature of the child's creative development.

Under the leadership of S.N. Chistyakova developed a program to develop the creative abilities of schoolchildren through the organization of group cooperation.

Primary school teacher O.V. Kubasova uses the possibilities of lessons to enhance the creative activity of younger students, adapting games and exercises to develop imagination and creative thinking on the material of school subjects and using them in the process of teaching the Russian language:

Various types of essays, presentations, creative dictations;

Construction (construction of sentences, verbal drawing, drawing up plans, words and sentences according to schemes);

Drawing up tables, diagrams;

- "discovery" of ways of word formation;

Analysis of literary works, in order to prove any assumption;

Distribution of offers;

Coming up with endings for stories;

Drawing up drawings using stencils;

Publication of newspapers, magazines, where the results of children's creativity are used (notes, interviews, reviews, essays, poems, fairy tales, drawings, rebuses, puzzles, crosswords and others);

Creation of filmstrips for literary works;

Staging, dramatization, "revival" of pictures;

Selection of characteristics (what can be a smile, gait, and so on);

Creation of visual, sound, taste images of letters;

Selection of synonyms, antonyms;

The study of phraseological turns.

As a result of the analysis of practical experience in activating the creative activity of younger schoolchildren, it was revealed, firstly, the significance of this problem for teachers, the interest of psychologists and methodologists in it; secondly, programs, courses, a series of tasks presented in the scientific and methodological literature and periodicals have been developed and tested on this issue; thirdly, the low psychological and pedagogical competence of teachers on this problem; fourthly, the lack of systematic, purposeful work to enhance the creative activity of younger students due to a lack of knowledge of techniques, means, forms of work in this direction; and as a result, low levels of development of creative activity of younger students.

1.3 Criteria and means of diagnosing the level of development of creative abilities of younger students

In order for the process of developing the creative abilities of younger students to be successful, knowledge about the levels of development of the creative abilities of students is necessary, since the choice of types of creativity should depend on the level at which the student is. For this purpose, diagnostics is used, carried out using various research methods (measurement tools). The study is carried out according to certain criteria. One of the objectives of this study was to determine the criteria, indicators and means of measuring the level of development of creative abilities of younger students. Based on the understanding of the term "creativity", which implies the student's desire to think in an original, non-standard way, to independently seek and make decisions, to show cognitive interest, to discover something new, unknown to the student, we have identified the following criteria for the level of development of creative abilities of younger students:

1. Cognitive criterion, which reveals the knowledge, ideas of younger students about creativity and creative abilities, understanding the essence of creative tasks.

2. Motivational - need criterion - characterizes the student's desire to prove himself as a creative person, the presence of interest in creative types of educational tasks.

3. Activity criterion - reveals the ability to originally perform tasks of a creative nature, activate the creative imagination of students, carry out the process of thinking outside the box, figuratively.

Each of the criteria has a system of indicators characterizing the manifestation of the studied qualities according to this criterion. Measurement of the degree of manifestation of indicators for each criterion is carried out using measuring instruments and certain research methods. Criteria, indicators and means of measuring the level of development of students' creative abilities, presented in Table 1.

Table 1

Criteria, indicators and means of measuring the level of development of students' creative abilities

Criteria	Indicators	Measuring
cognitive	1. Knowledge of the concept of "creativity" and operating with it. 2. The presence of ideas about creativity and creative abilities.	Testing Method "Compositor".
Motivational-need	1. Attitude towards creative exercises. 2. Development of creative abilities. 3. Striving for self-expression, originality.	observation. Method "Make up a story about a non-existent animal"
activity	1. Proposal of new solutions in the process of educational activities. 2. The manifestation of unconventional, creativity, originality of thinking. 3. Participation in collective creative activity	Observation Method of problem situations. Method "Three words"

In accordance with the selected criteria and indicators, we have characterized the levels of development of creative abilities of younger students in Table 2.

table 2

Levels of development of creative abilities of younger students

Criteria	High level	Middle level	Low level
cognitive	Has a sufficient level of knowledge, good speech development.	Has an insufficient level of knowledge, concepts, ideas; average speech development.	Has a low level of knowledge, fragmentary, poorly learned concepts, speech is poorly developed.
Motivational-need	The student seeks to show creative abilities, performs creative tasks with interest.	The student is not active enough, performs creative tasks under the supervision of the teacher, but can prove himself as a creative person.	The student is passive, does not seek to show creative abilities.
activity	Shows originality, imagination, independence in performing tasks.	Demonstrates originality, unconventionality in the performance of tasks. But often the help of a teacher is needed.	Cannot create or receive unusual images, solutions; refuses to comply creative tasks

Characteristics of the levels of creative abilities of younger students

1.High level.

Students show initiative and independence of decisions, they have developed a habit of free self-expression. The child manifests observation, ingenuity, imagination, high speed of thinking. Students create something of their own, new, original, unlike anything else. The work of a teacher with students with a high level is to apply those techniques aimed at developing their very need for creative activity.

2. Average level.

It is typical for those students who perceive tasks quite consciously, work mostly independently, but offer insufficiently original solutions. The child is inquisitive and inquisitive, puts forward ideas, but does not show much creativity and interest in the proposed activity. The analysis of the work and its practical solution is only if the topic is interesting, and the activity is supported by strong-willed and intellectual efforts.

3.Low level.

Students at this level master the skills to acquire knowledge, master certain activities. They are passive. With difficulty, they are included in creative work, they expect causal pressure from the teacher. These students need a longer period of time to think and should not be interrupted or asked unexpected questions. All children's answers are stereotyped, there is no individuality, originality, independence. The child does not show initiative and attempts to non-traditional solutions.

After determining the levels of development of creative abilities, the first ascertaining experiment was carried out.

The purpose of the first ascertaining experiment: to identify the level of development of creative abilities of younger students in the control and experimental classes.

The experiment was carried out in the third grades of the Sidorov secondary school. Class 3a was defined as the control class, class 3b as the experimental class. Both classes consist of 20 students. Students are engaged in the system of developmental education L.V. Zankov and have approximately the same indicators of academic performance and general development. The ascertaining experiment was carried out in accordance with the criteria, indicators and means of measurement presented in table 1. The diagnostic data obtained during the first ascertaining experiment are presented in tables 3, 4, 5, in Fig. 1, 2,3.

Table 3

The distribution of students in the experimental and control classes according to the cognitive criterion (the first ascertaining experiment)

The results of the first ascertaining experiment show that students of both the control and experimental classes have the highest scores on the motivational-need criterion, which indicates the students' interest in performing creative tasks, the desire to prove themselves as a creative person.

In general, students in the control class have a slightly higher level of development of creative abilities than students in the experimental class. (Intermediate tables are in the appendix).

The data of the first ascertaining experiment indicate an insufficient level of development of students' creative abilities, which necessitates a formative experiment.

Conclusions on Chapter I

1) Creative activity is understood as such human activity, as a result of which something new is created - whether it is an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.

2) Creative activity and creative abilities are interrelated with each other, since abilities develop and form only in the process of activity, and are not innate human characteristics. Creative imagination and thinking are the highest and necessary human abilities in the process of learning activities. The educational process in elementary school has real opportunities for the development of creative abilities.

3) As a result of the analysis of practical experience in enhancing the creative activity of younger students, we have identified: the significance of this problem for teachers, the interest of psychologists and methodologists in it.

4) Reading lessons are the most frequent and favorable lessons from a methodological point of view, where you can significantly increase the level of development of creative abilities if you regularly use creative exercises.

5) We have identified the criteria and means of diagnosing the level of development of creative abilities of younger students. The results of the first ascertaining experiment showed that the majority of students in the control and experimental classes have an average level of development of creative abilities. The highest indicators for the motivational-need criterion, which indicates the formation of a positive attitude towards creativity and creative tasks, the development of creative abilities, the presence of a desire for self-realization, but insufficient manifestation of the desire to perform non-standard tasks. The data of the ascertaining experiment necessitate a formative experiment.

Chapter II. Organizational and pedagogical conditions for the development of creative abilities of younger students.

2.1. Development of creative abilities of younger students in the process of performing creative tasks

The traditional education system is concerned with giving students some amount of knowledge. But now it is not enough to memorize a certain amount of material. The main goal of learning should be the acquisition of a general strategy, you need to teach how to learn, one of the conditions for mastering such a strategy is the development of creative abilities. These words belong to the well-known Soviet psychologist who studied the psychology of creativity and creative abilities Luk A.N. Indeed, often the teacher requires from the student only the reproduction of certain knowledge given to him in finished form. Creative abilities develop, as we found out during the theoretical analysis of the works of Rubinshtein S.L., B.M. Teplova and Nemova R.S., can only be done when organizing truly creative activity.

R.S. Nemov, defining the essence of the process of developing abilities as a whole, put forward a number of requirements for activities that develop abilities, which are the conditions for their development. Especially among such conditions, Nemov R.S. highlighted the creative nature of the activity. It should be associated with the discovery of something new, the acquisition of new knowledge, which ensures interest in the activity. This condition for the development of creative abilities was singled out by Ya.A. Ponomarev in his work "The Psychology of Creativity".

In order for students not to lose interest in activities, it is necessary to remember that the younger student seeks to solve problems that are difficult for him. This will help us to realize the second condition for developing activities put forward by Nemov R.S. It lies in the fact that the activity should be as difficult as possible, but doable, or, in other words, the activity should be located in the zone of the potential development of the child.

Subject to this condition, it is necessary to increase their complexity from time to time when setting creative tasks, or, as B.D. Bogoyavlenskaya, adhere to the "principle of the spiral". It is possible to realize this principle only during long-term work with children of a typical nature, for example, when setting the themes of essays.

Another important condition for the development of precisely creative abilities, Ya. A. Ponomarev called the development of creative activity, and not teaching only technical skills and abilities. If these conditions are not met, as the scientist emphasized, many qualities necessary for a creative person - artistic taste, the ability and desire to empathize, the desire for something new, a sense of beauty are among the redundant, superfluous. To overcome this, it is necessary to develop the conditioned age characteristics development of the personality of primary school age, the desire to communicate with peers, directing it to the desire to communicate through the results of creativity.

The best in relation to primary school age is “a specially organized creative activity in the process of communication”, which subjectively, from the point of view of a primary school student, looks like an activity for the practical achievement of a socially significant result. For this, it is important that the child has something to say to the participants in the communication, so that he really conveys information, for this it is necessary to find a recipient of communication. In our case, the recipient is the class team and the teacher, and at the school level, this is the school team, and so on.

The traditional objective conditions for the emergence of students' creative activity in the process of learning are provided when implementing the principle of problematicness in the learning process in a modern school. Problem situations that arise as a result of encouraging schoolchildren to put forward hypotheses, preliminary conclusions, and generalizations have been widely used in teaching practice. Being a complex method of mental activity, generalization implies the ability to analyze phenomena, highlight the main thing, abstract, compare, evaluate, define concepts.

The use of problem situations in the educational process makes it possible to form a certain cognitive need in students, but also provides the necessary focus of thought on independent solution the problem that has arisen. Thus, the creation of problem situations in the learning process ensures the constant inclusion of students in independent search activities aimed at resolving emerging problems, which inevitably leads to the development of a desire for knowledge and creative activity of students. Answering a problematic question or solving a problematic situation requires the child to derive such knowledge on the basis of what he has, which he did not yet possess, i.e. creative problem solving.

But not every problematic situation, the question is a creative task. So, for example, the simplest problem situation may be a choice of two or more possibilities. And only when a problem situation requires a creative solution can it become a creative task. When studying literature, the creation of a problem situation can be achieved by asking questions that require students to make a conscious choice. So, creative abilities develop and manifest themselves in the process of creative activity, the essence of the child's creative activity - the student creates something new only for himself, but does not create something new for everyone. Thus, children's creativity is the implementation of the process of transferring the experience of creative activity. In order to acquire it, the child "needs to find himself in a situation that requires the direct implementation of similar activities."

So, in order to learn creative activity, and in the process of such learning, the creative abilities of students will naturally develop, there is no other way than the practical solution of creative problems, this requires the child to have creative experience and, at the same time, contributes to its acquisition.

2.2 Literary creativity of schoolchildren as a condition for the development of creative abilities

These are children's speech exercises based on active imitation. On the one hand, through oral retelling and written presentation, the student’s speech is enriched, he, as it were, takes lessons from the writer; on the other hand, the student himself builds sentences and text, shows initiative and activity in generating speech.

It is difficult to imagine a lesson without a retelling, even a small one: the student retells what he has read, learned at home, conveys the content of books of extracurricular, free reading. The student retells the tasks for exercises in the Russian language, conveys the content of the mathematical problem, retells the rule in his own words. Constant retelling strengthens memory, trains the mechanisms of speaking. A variety of types of retelling, developed by experience, brings animation to the lessons: a retelling is known that is close to the text of the sample (detailed), selective, compressed - with several degrees of compression, retelling with a change in the face of the narrator (sample in the first person - retelling in the third), from the person one of the characters (there is an imaginary story from the “face” of an inanimate object), a dramatized retelling - in faces, a retelling with creative additions and changes, a retelling based on key words, in connection with pictures - illustrations, a retelling-characteristic, a retelling - a description of the exposition (places actions); retelling - oral drawing of pictures, illustrations, etc.

Presentation (retelling) is one of the creative methods of developing students' speech. It is assumed that the student, listening to or reading a story intended for written presentation, must assimilate the thought and convey it in his own words. The presentation should sound like a live speech of the student. Language means are assimilated when reading, in conversations, in the course of text analysis, they become their own for the student, and in the process of compiling their own text, the student does not strain, remembering the sample verbatim, but builds the text himself, conveys the content of the thought. In this work, independence increases, elements of creativity are born in the course of reproduction. The retelling (presentation) reflects the feelings of the student, his desire to interest the audience. If he “entered the role”, empathizes with the heroes of the story, if his feeling sounded in the retelling, then the creative level of his speech is high: the retelling turns into a story being created, not memorized. Creative retellings and presentations are those retellings and presentations in which the personal, creative moment becomes the leading and determining one, it is foreseen in advance, it concerns both content and form. This is a change in the face of the narrator, the introduction of verbal pictures into the story - the so-called verbal drawing, this is an imaginary screen adaptation, the introduction of new scenes, facts, characters into the plot; finally, it is dramatization, staging, theatrical embodiment. A variant of creative retelling is the transfer of content on behalf of one of the characters, for example, when retelling the fairy tale "The Gray Sheika" by D.N. Mamin-Sibiryak from the face of a fox. After all, the fox could not know what was before her first coming to the lake, and also further fate ducks. “The story of the dogwood stick in its own presentation” (Tikhomirov D.I. What and how to teach in the lessons of the Russian language. - M., 1883) is a new fantastic story with fictional characters, with the adventures of the owner of this dogwood stick. In other words, some scenes will disappear, others can be presented in a completely new way, and some are invented anew, based on creative imagination. There will also be changes in the language, it should reflect the character of the fox, which so wanted to eat the Gray Neck, and Vanka Zhukov will tell his story, introducing into speech the words and turns of speech characteristic of a village boy.

The study of the native language and especially literature gradually introduces students into the world of linguistic creativity: this includes keeping a diary, and correspondence, and describing pictures of nature, even if on the instructions of a teacher, and drawing pictures, and reciting poems, and staging, publishing newspapers and magazines, composing plays, this research activities students in grammar, the history of words, etc. In other words, creativity is not only poetry; Perhaps the composition of poetry is not always the pinnacle of creativity, but rhythmic and rhymed speech immediately stands out from prose exercises. Literary attempts of children most often go beyond the lessons, they are associated with extracurricular activities, circle work, and clubs. AT modern system education, the following forms of organizing creative work such as an essay or close to it are known:

a) independent creativity at home, sometimes hidden: diaries, records of events or something interesting, important for schoolchildren, writing poetry, etc. This is all done without the teacher’s tasks, and it happens that the teacher finds out about the student’s hidden creative activity years later. On this basis, this form of the creative life of the individual is not only underestimated, but even condemned. This is unfair: a child, even more than an adult, has the right to his secret, to non-standard behavior;

b) circles organized by the school and other institutions: literary and creative circles for studying the native language, theatrical, children's clubs, literary associations, school theater, various holidays, matinees, meetings, joint trips; they allow communication in free conditions;

c) various competitions, olympiads, competitions: a competition of riddles, poetic congratulations for the New Year, by September 1. Competitions are announced within the framework of the school, the entire city, even within the entire country. The winners are awarded the titles of laureates, as in adults;

d) publication of newspapers and magazines of children's creativity. These publications are now being published in hundreds of gymnasiums and ordinary secondary schools, and quite often an independent magazine is published for elementary grades.

Let's give some examples - from practice.

Riddles competition.

Making riddles.

A start has been given. Mokhnatenka, mustachioed ...

The children continue. Lies in the sun

He squints.

Another offers. Her mice are afraid.

The third. She has one concern:

Go hunting at night!

Lies round, golden

I opened my mouth as much as I could

Took a big bite.

I thought it would be sweet

It turned out sour, nasty!

Piggy bank of poetic images. Someone writes down songs, someone writes aphorisms, and someone writes excerpts from their favorite poems. It is necessary that the passage be small, contain an image. Here is the soundtrack:

Wave upon wave ran,

The wave drove the wave.

Smooth, rhythmic sound, the sound [l] is repeated.

Here is another auditory image, “rumbling”:

When the first spring thunder

As if frolicking and playing,

Black raven in the snowy dusk.

Peace to the aspens, which, spreading its branches,

We looked into the pink water.

(S. Yesenin.)

The mountain ash lit up with a red brush. Leaves were falling. I was born...

(M. Tsvetaeva.)

To poetry - through a joke. Having created an atmosphere of looseness in the classroom, teacher R.V. Kelina (Samara) suggested the first line to the children, i.e., in essence, suggested the theme and rhythm:

Grandma just fell asleep...

And received a collection of funny poems:

Grandma just fell asleep

Murzik quickly got off the chair,

Started walking around the room

Jump, run, wake everyone up.

Morning has finally come

The fugitive walked a lot,

The naughty trudged home

Dirty, wet and lame.

The first snow fell to the ground

All at once it became light!

It is fluffy, bright, white,

It lies lightly on the ground.

General advice to the teacher in connection with the first attempts of students in literary work: do not give any assignments, no reproaches, and even more so - humiliating remarks; complete freedom of creative attempts; create an atmosphere of positive emotions, a good mood, you can read samples, tell children about the early poems of M.Yu. Lermontov, S. Yesenina, A.S. Pushkin, etc.; assistance to provide mainly individual; L.N. Tolstoy allowed help in choosing a topic, in compiling individual phrases, in writing down a text - in particular, in spelling; especially appreciate a good image, a well-chosen word, humor, the ability to notice the details of what is being described; perform some organizational functions: help in organizing competitions, matinees, discussions, publishing a magazine and, of course, in editing.

2.3 Organization of creative activity of younger students for the development of creative abilities

1. Compose a story from several texts on a given topic.

2. Retell the text and continue it by adding new facts, events from the life of the characters.

3. Change the person, tense of verbs when transferring the content of the text.

4. Compose a story by analogy with what you read based on your personal experience.

5. Compose or continue a story based on a picture or a series of pictures illustrating what has been read.

6. Compose a story based on a picture that makes it possible to compare what is read and what is shown in the picture.

7. Compose a story based on personal observations of pictures of nature that are close to what you read.

When conducting a formative experiment, the purpose of which was to develop the creative abilities of younger students, the students were given the following task - to combine similar content that is available in several texts. To perform such a retelling, the guys must carry out a complex creative mental operation - synthesis. Under the synthesis of learning is understood the association, linking, establishing relationships between the acquired knowledge. We turn to the characteristics of the implementation of exercises of this type of retelling.

The students are given the task of compiling one story out of two or three stories they read. This work is carried out after an appropriate preparatory conversation, in which the teacher confronts the children with the need to correlate parts of texts similar in content according to the plan. For example,

1. Read three stories: the story of Skrebitsky and Chaplina "Look out the window", "What did the woodpecker feed on in winter", "Sparrow".

2. Conversation on the text to identify factual and contextual information. Identification of author's positions in texts.

3. Finding common in the content of the stories read.

4. Answers to questions for the purpose of language training.

5. Formulation of the task: compose a story "How wintering birds get their own food."

6. Structural and compositional work (story plan):

Birds are "winterers".

Bird food in winter.

Getting food.

7. Role play. Image of birds.

The work on the retelling became more difficult. The story is carried out not only on the basis of read prose, but also poetic texts. In this regard, students are tasked not only to combine what they read from different texts, but to compose a story on a specific topic based on what they read in different works. This task, of course, is more creative and therefore makes much more demands on the mental activity of students. As with any synthesis task, the student must, in order to compose this story, realize and keep in his mind the general theme around which he needs to group the material from the texts. For example,

1. Read F. Tyutchev's poem "Spring Thunderstorm", "Spring Noise", M. Isakovsky's poem "Spring".

2. Based on these poems, make up a story on the theme "Spring".

3. Drawing up a plan for a future story:

A) the first spring thunder,

B) nature is awakening,

C) people rejoice in spring.

This task is not designed to reproduce the text, but to develop its content. Of course, this improvisation was the fruit of the creative imagination of children and must have real foundations. In this regard, it is necessary to involve sensual life and reader's experience in the conversation. The wider the experience, the greater the scope of creative imagination.

As a formative experiment in the experimental 3 "A" class, we carried out purposeful work to develop the creative abilities of younger students. After that, 2 ascertaining experiments were carried out. The purpose of the second ascertaining experiment: to identify changes in the level of development of creative abilities of students in the control and experimental classes.

In the second ascertaining experiment, the measuring instruments presented in paragraph 1.3 were used. to develop the creative abilities of students at the lessons of literary reading, a number of lessons were held (Appendix). The data obtained during the second ascertaining experiment are presented in tables 6.7, in Fig. 4.5.

Table 6

Distribution of students in the control and experimental classes according to the level of formation of creative abilities (the second ascertaining experiment)

Fig. 4 Distribution of students in the control and experimental classes in the second ascertaining experiment

Table 7

Distribution of students in the experimental class according to the level of formation of creative abilities

(first and second ascertaining experiment)

Analysis of the results of the second stating

his experiment in the control and experimental classes showed that the level of development of the creative abilities of younger students in the control class, where the formative experiment was not conducted, remained the same. The experimental class showed higher results:

A low level of development of creative abilities in the experimental class was not revealed by any criterion, while in the control class it ranged from 15 to 20% according to various criteria.

In general, the level of development of creative abilities of students in the experimental class is significantly higher than that of students in the control class. (Annex 6)

The data of the second ascertaining experiment indicate that significant changes occurred in the level of development of the creative abilities of students in the experimental class, due to the formative experiment conducted in the class.

Conclusions on Chapter II

In the course of the study, we have identified the most effective conditions for the development of creative abilities of younger students in reading lessons. Based on the work carried out, the following conclusions can be drawn:

1) In our formative experiment, we used such means of developing creative abilities as creative tasks in reading lessons, creative retelling, exercises aimed at developing the literary creativity of schoolchildren (creating newspapers, magazines, almanacs, writing poems, keeping personal diaries).

2) One of the important ways to develop creative abilities in elementary school is to include younger students in joint creative activities outside of school hours. The participation of schoolchildren in creative activities at extracurricular activities most clearly demonstrates the level of interest in performing creative tasks. In our experiment, we implemented this method through the writing activity of children (composing riddles, poems).

3) Analysis of the results of the second ascertaining experiment in the control and experimental class showed that the level of development of creative abilities of younger students in the control class, where the formative experiment was not conducted, remained the same. In general, the level of development of creative abilities of students in the experimental class is significantly higher than that of students in the control class. The data of the second ascertaining experiment indicate that significant changes occurred in the level of development of the creative abilities of students in the experimental class, due to the formative experiment conducted in the class.

Conclusion

Having studied theoretical basis formation of creative abilities of younger schoolchildren and identifying the pedagogical conditions of formation, we made the following conclusions:

1) By creative activity, we mean such human activity, as a result of which something new is created - be it an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.

2) As a result of the analysis of the practical experience of teachers - practitioners, scientific and methodological literature, it can be concluded that the educational process in primary school has real opportunities for developing creative abilities and enhancing the creative activity of younger students.

3) Consideration of the conditions for the development of creative abilities of younger students allows us to identify ways to implement their development in the process of conducting reading lessons. The first is the organization of the educational process by setting creative educational tasks and by creating pedagogical situations of a creative nature; as well as the organization of independent creative work of primary school students. And the second way is through the involvement of students in the study of literature to artistic and creative activities.

4) We have determined the criteria for the development of creative abilities (cognitive, motivational-need, activity), characterized the levels of development in accordance with the criteria and selected diagnostic tools. The results obtained by us after conducting experiments 1 and 2 showed that as a result of using creative tasks in reading lessons, the number of children with a low level in the experimental class decreased, and the number of children with a high and medium level increased, there were no changes in the control class. Comparing the results of the two classes, we can conclude that there is a positive trend in the growth of the level of creative abilities in the experimental class.

Thus, the goal of our work has been achieved, the tasks have been solved, the conditions put forward in the hypothesis have been confirmed.

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Applications

Appendix 1

Method "Compositor"

This is a test - a game for assessing non-standard creative thinking, ingenuity, intelligence of a student. The child is given a word consisting of a certain number of letters. Words are made from this word. This job takes 5 minutes.

Words must be common nouns in singular, nominative case. The word is nonsense.

The signs by which children's work is evaluated: the originality of words, the number of letters, the speed of inventing.

For each of these characteristics, a child can receive from 2 to 0 points in accordance with the criteria:

Originality of words: 2 - words are unusual, 1 - words are simple, 0 - a meaningless set of words.

Number of letters: 2 - the largest number of letters, all words are named; 1 - not all reserves are used; 0 - task failed. Thinking speed: 2-2 minutes, 1-5 minutes. 0 - more than 5 minutes. Accordingly, a high level - 6 points, an average - 5-4 points, a low level - 3-1 points.

Appendix 2

Method "Make up a story about a non-existent animal"

The child is given a sheet of paper and is invited to come up with a story about an unusual fantastic animal, that is, about one that has never existed anywhere before and does not exist (you cannot use fairy tale and cartoon characters). You have 10 minutes to complete the task. The quality of the story is evaluated according to the criteria and a conclusion is made about general level development of creative abilities.

8-10 points - in the allotted time, the child came up with and wrote something original and unusual, emotional and colorful.

5-7 points - the child came up with something new, that in general it is not new and carries obvious elements of creative imagination and makes a certain emotional impression on the listener, the details are spelled out in an average way.

0-4 points - the child wrote something simple, unoriginal, the details are poorly worked out.

Appendix 3

Method "Three words"

This is a test game for assessing creative imagination, logical thinking, vocabulary, general development. The students were offered three words and asked them to write as soon as possible the largest number of meaningful phrases, so that they included all three words, and together they would make up a meaningful story.

Words for work: birch, bear, hunter.

Evaluation of results:

5 points - a witty, original phrase (example: a bear was watching a hunter from a birch);

4 points - the correct logical combination of words, but all three words are used in each phrase (the hunter hid behind a birch, was waiting for a bear);

3 points - a banal phrase (the hunter shot at a bear, hit a birch);

2 points - only two words have a logical connection (birch trees grew in the forest, a hunter killed a bear in the forest);

1 point - a meaningless combination of words (white birch, cheerful hunter, clumsy bear).

Conclusion about the level of development: 5-4 points - high; 3 - medium; 2-1 - low

Appendix 4

Summaries of the lessons conducted at the stage of the second ascertaining experiment

Lesson outline. Folklore. Bylina "Ilya Muromets and the Nightingale the Robber"

Type of lesson - familiarization with new material.

In this lesson, active forms of student activity were used, the following were used: modeling techniques, differentiated and individual work with children, information technology, group work.

Lesson Objectives:

to teach how to work with a work, to form the skills of a full-fledged perception and analysis of a work;

learn how to plan a work using modeling.

Lesson objectives:

Educational:

introduce the concept of the epic as a genre of folklore and its features (melodiousness, repetitions, stable epithets)

to introduce children to the epic “Ilya Muromets and the Nightingale the Robber”;

identify the artistic features of epics;

Developing:

develop thinking, imagination, memory, holistic perception, observation, the ability to compare and analyze;

form literary ideas

Educational:

to cultivate love for oral folk art, for Russian literature, the education of patriotic feelings and moral qualities of the individual

Planned achievements of students in the lesson:

name epics correctly and highlight their features

compare heroes - positive and negative

retell the epic and individual episodes according to the plan, read expressively the texts of the epic or episodes from them (description of epic heroes, their exploits and miracles)

compare epics about the exploits of the same heroes, characterize the features of the speech of storytellers (epics).

Equipment:

computer, presentation of the lesson, CD-ROM "Masterpieces of Russian Painting", a tape recorder with a recording of the epic "Ilya Muromets and the Nightingale the Robber", reproductions of paintings by V. M. Vasnetsov

Visual range:

a selection of illustrations by the artist N. Vorobyov for epics

interactive tour using the CD-ROM “Masterpieces of Russian Painting”

feature film “Ilya Muromets and the Nightingale the Robber” (excerpt)

Sound range:

A. Muravlev “Concerto for a duet of gusli with an orchestra of folk instruments”, epic

R. Gliere "Symphony No. 3" "Ilya Muromets"

During the classes

I. Generalization of existing knowledge about oral folk art.

1. The guys are invited to work with a diagram in the center of which the word “Folklore” is placed, and from it the arrows indicate various genres of folklore (fairy tales, nursery rhymes, riddles, fables, tongue twisters, proverbs.)

It is necessary to restore the missing element - epics.

Slide number 1.

Thus, we bring the children to the topic of the lesson - epic.

At this stage, there is a generalization of existing knowledge.

2. Sounds “Concert for a duet of gusli with an orchestra of folk instruments”, bylina A. Muravlev in order to create an emotional mood and prepare for the perception of the topic.

3. To activate cognitive processes, children are asked the question: What does the word “epic” mean? (children's answers).

After that comes the work with the slide.

II. Learning new material.

1. Slide number 2.

The word "Bylina" means "true story", that is, a true story. Previously, epics were sung to the harp, so the performance has a smooth and melodious narration.

In total, there are more than a hundred epics, and they came to us from distant times, were passed down by people from mouth to mouth. And for us, they were saved by the collectors of epics, who traveled through cities and villages and wrote them down from simple peasant storytellers.

2. Slide number 3 (image of a hero)

The main characters of epics are folk heroes - heroes. Bogatyrs love their native land, stand guard over its borders, in a moment of danger come to the aid of their people, save them from enslavement and humiliation. They are the embodiment of the ideal of a courageous, honest person devoted to the Motherland and people. He is not afraid of the innumerable forces of the enemy, he is not afraid even of death itself!

Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Danube-in-law, Vasily Kazimirovich, Sukhman - cause us admiration, joy, faith in the forces of the people.

So, epics are, first of all, heroic folk songs about the exploits of strong, mighty defenders of the Russian land.

The most famous epics were “Dobrynya and the Snake”, “Alyosha Popovich and Tugarin Zmeevich”, “About Dobrynya Nikitich and the Serpent Gorynych”, “Ilya Muromets and the Nightingale the Robber” and many others.

Today we will meet one of them.

3. Listening to the epic “Ilya Muromets and the Nightingale the Robber”

(listening to an audio cassette with an epic)

4. Analysis of the text of the epic, answers to questions:

What feelings did the heroes of the epic evoke in you?

How did you imagine Ilya of Muromets and the Nightingale the Robber?

Describe the appearance of the hero and the Nightingale the Robber.

Why did people sing the exploits of Ilya Muromets? Which?

Vocabulary in the classroom.

Gat - flooring made of logs or brushwood for driving through a swamp

Rawhide belts - durable belts made from raw animal skin

Tyn - fence

Chambers of princes - a large rich room

Kaftan - men's outerwear

It’s enough for you to cry fathers-mothers - to make you shed tears, to grieve

Druzhina - princely army in Ancient Russia

5. - Reading bylina by children in a chain after the teacher.

Subsequent analysis: (group and individual shape work)1 group (weak)2 group (medium)3 group (strong)

Check: children read the passage. Check: children read the passage. Show the completed model to the whole class

Individual task for the student:

Tell us about the main characters of the epic and convey your attitude to each

6. Now look at how these characters are presented in the movie and answer the question:

Did the filmmakers manage to convey the character and appearance of the heroes of the epic?

What difference did you see?

viewing an excerpt from the movie “Ilya Muromets” (the fight between Ilya Muromets and the nightingale the robber)

III. Completion of tasks in a notebook (tasks are given differentially)

1 group (weak)

Reread the first paragraph. Find the words that speak about the magical power of the horse Ilya Muromets.

Ilya Muromets gallops at full speed. Burushka Kosmatushka jumps from mountain to mountain, jumps rivers-lakes, flies over hills.

2 group (middle)

2) Pay attention to the names of the epic characters. What does the author call them? write down

3 group (strong)

3) Find in the text and read the paragraph and underline the words that speak of the heroic strength of Ilya Muromets.

Ilya jumped off his horse. He supports Burushka with his left hand, and with his right hand tears oaks with roots, lays oak floorings through the swamp. Thirty versts Ilya laid the gati - until now, good people drive along it.

Work with the whole class.

4) Find a paragraph that talks about the power of the Nightingale - the robber. Write in the missing words.

Yes, as he whistles like a nightingale, growls like an animal, hisses like a snake, so the whole earth trembled, hundred-year-old oaks swayed, flowers crumbled, the grass died. Burushka-Kosmatushka fell to his knees.

Independent work of children.

Checking completed work.

8. Crossword

1) The village where I. Muromets lived. (Karacharovo)

2) The city from under which the hero came. (Murom)

3) The river where the Nightingale the Robber lived. (Currant)

4) The name of the horse Ilya Muromets. (Burushka)

5) The name of the father of the Nightingale the Robber. (Rahman)

9. Literary dictation

Epic, hero, epic hero, Russia, Ilya Muromets, Burushka-Kosmatushka, Nightingale the Robber, Karacharovo village, Smorodina river

IV. Summary of the lesson. Interactive tour. Slide number 5

Mu Homework:

artistic retelling of the epic

draw heroic armor

Summary of the lesson "Oral folk art of the Russian people"

Type of lesson: generalization and systematization of knowledge.

Lesson form: lesson-game with competition elements.

Lesson Objectives:

1. Educational:

to consolidate the concepts of oral folk art;

talk about genres: “riddles”, “proverbs”, “patter tongues”, “fables”, “counters”, “rhymes”, “fairy tales”, “epics”;

2. Developing:

development of the ability to carefully, thoughtfully perceive a literary text;

development of competent oral speech;

development of expressive reading skills

3. Educational:

upbringing careful attitude to oral folk art;

education of moral qualities.

Equipment: an exhibition of children's drawings, a flower, magnets, illustrations for fairy tales, a reproduction of V. Vasnetsov's painting "Heroes", drawings of children about the family, a textbook by L.A. Efrosinina, M.I. Omorokova “Literary reading” Grade 3, part 1, workbook No. 1, Ozhegov’s explanatory dictionary.

Benefits: texts of nursery rhymes, fables.

Lesson plan:

1. Introductory word of the teacher.

2. Students perform various tasks and exercises (in the form of a game).

3. The result of the lesson.

4. Homework.

During the classes

1. Organizational moment. Introduction by the teacher. Communication to students of the purpose of the upcoming work and the form of the lesson.

Today we have an unusual lesson

On it we will sum up the work.

On the genres of oral folk

Let's talk creativity

Let's repeat what we have read.

Whether in the garden, in the garden

The girl was walking

Whether in the garden, in the garden

Watered the flowers.

One flower plucked

And handed it to us in class.

2. The topic of the lesson.

The petals on our flower are not simple, but magical. We must help this fabulous living flower of Russian folklore bloom. Let's try guys? And for this we need to complete tasks.

Remember, we said: literature is what is written in letters. A letter is a letter. Literary work is written, and folklore affects. So, who can explain what “oral creativity of the Russian people” means?

(Children speak in their own words). Now find the definition of oral folk art in the textbook and read it. (page 4)

Every nation has works of oral folk art (folklore). This is his living memory, passed down from generation to generation, from grandfathers to grandchildren. These works reflected the life and customs of the people, their views on the world and man, ideas about good and evil.

Teacher. Amazing! Today we will continue the conversation about oral folk art, about its various genres. Let's divide into teams: 1 row - 1 team, 2 row - 2 team, 3 row - 3 team. At the end of the lesson, let's summarize: who is the most erudite on this topic? (1 min.)

So, 1 task. Who can say what a proverb is? Now find and read the definition of the proverb in the textbook (p. 25)

Name and explain proverbs about family, parents and children. At home, you had to draw your family and pick up proverbs about the family. Children read prepared proverbs and explain their meaning.

“Children are joy, children are grief.” Parents love their children, but we do not always obey them, and they get upset and upset because of us.

"A mother's heart warms better than the sun." Mom will always support, help, tell. She is always the best friend.

"The whole family is together - and the soul is in place."

"Not the father - the mother who gave birth, but the one who made him drunk and taught good."

Each team names their proverbs and explains them.

Now read the proverb written on the board and explain it.

“Whoever is literate is not the abyss.”

You have completed the task and one petal opens. (1 min.)

(Comment. Identification of students' reading experience, individual survey and evaluation of students' answers, ability to work with textbooks and library books. Children bring books to class from the city library, school or home. I try to mark such children, stimulate them cognitive activity).

2 task.

Let's clap and say our favorite tongue twister "Bull, bull, dumb-mouthed, dumb-mouthed bull, the bull had a white lip was stupid." Now let's try to say it faster. Why do we need shortcuts? We train our tongue to pronounce all sounds clearly and correctly.

Task for each row: give your own example of a tongue twister.

Well done! So the second petal of our magic flower opens.

3 task.

One two three four five -

Calculate guys

What are in the circle here.

What is the name of this genre of folk art? Children's answers.

Each team must give an example of their own rhyme.

Well done boys! Here comes the next petal.

4 task.

You have text printed on the sheets. You must read it in an undertone, then determine the genre.

Three-ta-ta, three-ta-ta!

A cat married a cat.

The cat is walking on the bench.

And the kitty - on the bench,

Catches a cat by paws:

Oh you kitty, kitty

Cool little one!

Play with me cat

With Masha, a young cat!

These are fun. What do you think, what are the jokes for? A nursery rhyme is a song or rhyme to play with young children. These are games with fingers, arms and legs.

Each row should give an example of its nursery rhyme.

While the next petal opens, we will spend a physical education session with the help of nursery rhymes.

The sparrow flew, flew.

He flew, he flew young.

Over the blue sea.

I saw, I saw a sparrow.

I saw, I saw young

How girls walk

And the girls walk like this

And like this, and like this,

This is how the girls go.

The sparrow flew, flew.

I flew, I flew young

Over the blue sea.

I saw, I saw, sparrow,

I saw, I saw, young,

How do guys walk.

And the boys walk like this

And like this, and like this,

That's how the guys go.

(Comment. Identification of the reading experience of students, individual survey and evaluation of student responses, ability to work with additional literature and study book. This form of work allows each child to show their level of erudition and literary development, to test themselves, to comprehend and understand something).

5 task.

Guys, who can say what is fiction?

Reality is what was, the truth. And fiction is fiction. This is something that does not happen, did not exist.

A merchant walked past the market,

tripped over a basket

And fell into a hole - bang!

Squashed forty flies.

Try to come up with your own fantasy. I give you a rhyme: a jackdaw is a stick.

Children's answers.

Well done guys, you're doing great. You completed this task as well, and therefore we have another petal open.

(Comment. The lesson continued the creative work of students, which they began in the lessons of studying Russian folk art. Fictions were composed in the class, in groups and individually, and homemade books were designed in the classroom visual arts. This form of work allows each child to show their level of erudition and literary development).

6 task.

What it is? An intricate description of an object or phenomenon, compiled with the aim of testing the quick wit, observation and ingenuity of a person.

It's a mystery.

Then for you guys

One riddle.

1 team.

Not a rider, but with spurs,

Not a watchman, but wakes everyone up. (rooster)

And how did you guess?

The rooster has growths on its paws, like spurs, and it wakes everyone up in the morning.

2 team.

Not a tailor, but all my life

Walks with needles. (hedgehog)

And how did you guess?

He has a lot of needles.

3 team.

Two bellies, four ears (cushion)

Explain how you determined it was a pillow.

A riddle, a proverb, a tongue twister, a nursery rhyme, fables, a counting rhyme, a song are forms of folklore.

Here is the next petal opened.

7 task.

Guys, who can say what an epic is? Children's answers.

But what is the definition of the epic given by Ozhegov's explanatory dictionary. (read out)

Bylina is a work of Russian folklore about the exploits of heroes who lived in the distant past. They fought with evil forces, with the enemies of the Russian land.

What epic heroic heroes do you know? Read the passage on page 20 and name the epic.

You have the names of various heroes printed on the leaves. You read carefully and select the names of only fabulous heroes and underline them.

Ilya Muromets, Moroz Ivanovich, Christopher Robin, Alyosha Popovich, Karabas Barabas, Dobrynya Nikitich.

Children's answers

Demonstration of a reproduction of the painting by V. M. Vasnetsov “Heroes”.

The great Russian artist Viktor Mikhailovich Vasnetsov was very fond of legends about heroes, who he listened to from his father, from the old people in the village where he lived. The artist devoted two decades to the painting “Bogatyrs”. To create images of heroes, the artist studied epics, the history of Ancient Russia, got acquainted with samples of ancient weapons and clothes of our ancestors in museums. In the center of the picture we see Ilya Muromets. To his left is Dobrynya Nikitich, to the right is the youngest of the heroes - Alyosha Popovich. Now this picture is stored in the Tretyakov Gallery in the Vasnetsov Hall.

Here's another petal open.

8 task.

What is a fairy tale? Children's answers.

Find the definition of a fairy tale in the textbook and read it. Page 28.

This is an oral story about something unusual, which is hard to believe, about incredible, fantastic. Each nation has its own fairy tales, which are passed from the elders to the younger. When we open a book with folk tales, we will not see the names of the authors in it, because the author folk tales- people. But there are fairy tales that are created by writers. Such fairy tales are called literary or author's. These are the tales of A. S. Pushkin, S. Ya. Marshak, K. I. Chukovsky and other writers. (page 28)

You drew pictures for the fairy tales that we have already met. Can you please tell me which fairy tales you drew illustrations for?

Can you name the fairy tales whose main characters are depicted in these illustrations.

Demonstrate illustrations, children's answers.

Well done boys! And who among you can say what a saying is? A saying is a playful introduction or ending to a fairy tale.

Find and read the sayings to the fairy tale “Tsarevich Nekhitor - Nemuder”. Children's answers.

Find the dialogue between the old man and the old woman from the fairy tale “The Most Dear” and read what the old man offered, how the old woman objected to him.

In the workbook on page 23, guess the crossword “Through the pages of fairy tales”. Check completed work.

(Comment. We learned to work with the images of characters, the text of the work, practicing the ability to read “aloud” and “silently.” Setting a learning task is the goal of working in a notebook and textbook, the ability to navigate in a textbook and notebook, independently choose the operation of working with a textbook, working out search reading, expressive reading. All children's answers are confirmed by the test. Here the ability to work with the text of the work is revealed. Children learn self-examination and self-esteem. Work is carried out simultaneously on the language of the work and on the speech of children. The child can show his level of erudition and test himself.)

So our magical living flower of the oral creativity of the Russian people has opened.

Let's repeat? What genres of oral folk art we talked about today. Children's answers. As the lesson progresses, grades are given.

What do you think, what do the works of oral creativity of the Russian people teach? (goodness, truth, conscience, diligence)

Which of the following do you think is the most important?

You all did a good job with the tasks, and each team has the right to receive the title of an erudite team.

I suggest that you find books with Russian folk tales at home, read one of them, and in the next lesson you will retell the tale that you liked or expressively read an excerpt from this tale.

(Comment: Homework is given in several versions so that each child can choose a job according to their abilities.)

Additional material.

What genre of oral folk art belongs to a work that begins with the words:

1. “Once upon a time there was a grandfather and a woman, and they had a hen Ryaba.”

2. Crested laughter

Laughed with laughter:

Ha ha ha!

3. An apple rolled past the garden,

Past the garden, past the city.

Whoever picks it up will get out!

4. Complete task No. 2 on page 20 in your notebook.

Lesson-journey "Meeting with a fairy tale"

The purpose of the lesson:

Develop observation, logical thinking, coherent speech, switchability of attention, the ability to analyze, generalize;

To form the needs of constant reading of books, to enrich the reading experience of students;

To cultivate interest in reading, the ability to work together, to show independence and initiative, a culture of speech.

Equipment:

exhibition of books "Russian folk tales";

cards with excerpts from fairy tales;

items for staging fairy tales: tablecloth, plate

bag, bucket, broom.

visual material depicting objects from fairy tales.

tables with the names of fairy tales;

rooster, mouse, snow maiden masks

illustrations for Russian folk tales;

During the classes

1. Organizational moment.

2. Setting the goal of the lesson.

Guys, today we will talk about a fairy tale. For us, the existence of cars, airplanes, spaceships has long become familiar. I wanted to be transported to the end of the world - turn on the TV, and the screen will appear different countries, people, mountains, seas and more. People have created more miracles than fairy-tale heroes. But why does the fairy tale remain so sweet and dear? Why are fairy tales still written? The fact is that all adults were once children, and children are always told fairy tales. And no matter what we invent, no matter where fate brings us, the fairy tale remains with us. A fairy tale was born with a person, and as long as a person is alive, a fairy tale will also be alive.

3. Actualization of knowledge.

Guys, we have been preparing for this lesson for a long time, we read many different fairy tales, drew illustrations for fairy tales. Tell me, what are fairy tales? (children's answers)

Household. These are stories about animals. There are no magical transformations in them. But these stories are very funny. In them, a good-natured bear, a cowardly hare, a cunning fox, an evil and deceived wolf.

There are also tales about peasants, soldiers, orphans. They also belong to everyday fairy tales.

Magic. They can do everything. Turn a swan into a girl, build a silver palace, turn a frog into a princess, a young man into a mosquito.

Literary tales. These are the ones that writers have composed and written.

Each nation has its own fairy tales, short and long, about people and animals, magical and almost without magic: What does a fairy tale teach us? (children's answers)

She teaches us goodness and justice, teaches us to resist evil, to despise the cunning and flatterers. Learn to understand someone else's misfortune.

No wonder the great Russian poet A. S. Pushkin says: "A fairy tale is a lie, but there is a hint in it - a lesson for good fellows." A fairy tale - a lie turns out to be the most beautiful truth, fairy tales help us to be kinder.

Who does not believe - let him believe

I am glad to any guest!

Opening doors to a fairy tale

I invite all the guys!

4. Work on fairy tales.

Guys, today we will go on a journey to the land of fairy tales. The flying carpet will help us. Close your eyes, mentally stand on the carpet, we will go on a journey "Meeting with a fairy tale." We fly over mountains, over seas, over dense forests. Fairyland is getting closer. The flying carpet slowly descends to the ground. We have arrived. Open your eyes, we are met by a fairy tale. We arrived at the Mysterious station.

Station "Mysterious" (a student comes out)

Fairy tale, fairy tale, joke

Telling her is not a joke.

To a fairy tale first,

Like a river murmured

So that by the end both old and small

She didn't fall asleep.

Student: Hello guys. Welcome to the land of fairy tales. My name is Alyonushka. Do you remember what fairy tale I live in? ("Sister Alyonushka and brother Ivanushka", "Geese are swans".)

I have fabulous things in my shopping cart. They belong to the heroes of Russian folk tales. You know these characters well. Guess what fairy tales these items are from?

(children's answers)

1. "Turnip". 2. "The Fox and the Crane". 3. "Geese and swans". 4. "Chicken - Ryaba". 5. "Princess - frog." 6. "Cat, rooster and fox" (the cat rescued the rooster with a harp) 7. "The Tale of Rejuvenating Apples and Living Water" "Geese - Swans". 8. "Sivka - Burka". "Ivan Tsarevich and the Grey Wolf".

I also have fabulous letters, only they do not have return addresses. Who wrote these letters?

1) Someone for someone

Grabbed tight:

Oh, can't pull it out

Oh, stuck tight.

But more helpers will soon come running:

Friendly common work will win the stubbornness

Who sat down so tight?

Maybe this: (Turnip).

2) Save. We were eaten by a gray wolf. (Goats).

3) "The fox is carrying me through dark forests, over fast rivers, over high mountains" (Cockerel).

4) What should be said to open the entrance to the cave? (Sim-sim open).

The storytellers embodied in the main characters of fairy tales the ideas of the Russian people about the best character traits. The events in the fairy tale take place in such a way as to repeatedly test the hero: his strength, courage, kindness, love for people and animals.

Today the guys act as heroes of Russian folk tales. They prepared questions.

(Children go to the blackboard one at a time and ask questions to the class).

I am Ivanushka from the fairy tale "Geese - Swans". Tell me, what animal helped me and my sister to escape from Baba Yaga? (Mouse).

I am Chanterelle - a sister from the Russian folk tale "Fox - sister and wolf". Answer me the question, where did the wolf put his tail to catch the fish? (Into the river).

I - Frost - Blue nose from the Russian folk tale "Two Frosts". Who did I freeze? (Barina).

I am the stepdaughter from the fairy tale "Morozko". Here is my riddle. What did Santa Claus give me? (Box).

I am the Chanterelle from the fairy tale "The Fox and the Crane". Tell me, what kind of porridge did I treat the crane? (Manna).

I am the Cat from the fairy tale "Cat, Rooster and Fox". My riddle is this. What did I play at the fox hole? (on the harp).

I am a Snow Maiden. Tell me, what made me happy on a spring day? (Grad).

On what basis can they be combined into one group? (All of them are Russian folk tales).

The red girl is sad

She doesn't like spring

She's hard on the sun

Tears are shed, poor thing.

(Snow Maiden).

Who guessed what kind of fairy tale it is. (Russian fairy tale "Snegurochka").

A dramatization of the fairy tale "The Snow Maiden". (children show a fairy tale)

Teacher. Name the main reason for the disappearance of the Snow Maiden. (She melted.)

In each proverb, the people put their dreams of goodness, justice, a comfortable life. Every folk tale contains a wise thought. It is not for nothing that this is said in the proverb: "A fairy tale is a lie, but in it:". Continue the proverb. (Hint, good fellows lesson.)

Labor feeds a person, but: (laziness spoils.)

Once he lied - forever: (he became a liar.)

Who does not love others: (he destroys himself.)

Finished the job -: (walk boldly.)

A person gets sick from laziness, but: (He gets healthy from work.)

It is bad for the one who: (does no good to anyone.)

Learn good: (bad things will not come to mind.)

Bitter work: (yes bread is sweet).

What famous Russian folk tale is the last proverb suitable for?

Russian folk tale "Spikelet".

Dramatization of the fairy tale "Spikelet" (children show a fairy tale)

What does this tale teach? (This tale teaches us that everyone gets what he has earned.)

Who owns these words from a fairy tale?

"Get in one ear and get out the other - everything will work out." (Cow - "Havroshechka")

"Are you warm, girl, are you warm red." (Morozko)

"Do not drink, brother, you will become a goat." (Alyonushka)

"Fu-fu, the Russian spirit is not heard, the view is not seen, but now the Russian spirit itself has come." (Baba Yaga)

"Sivka-burka, prophetic kaurka, stand before me, like a leaf before grass." (Ivan the Fool)

"As soon as I jump out, as I jump out, shreds will go along the back streets." (A fox).

"The fox carries me over dark forests, over fast rivers, over high mountains." (Cockerel)

"Kids, kids, open up, open up, your mother has come, she has brought milk." (Wolf).

"I see - I see! Do not sit on a stump, do not eat a pie. Bring it to your grandmother, bring it to your grandfather." (Masha)

"Look for me at distant lands, in a distant kingdom, in a distant state." (Princess Frog)

Teacher. What signs of Russian folk tales do you know? (fabulous beginnings and endings, magic items, stable combinations of words)

In fairy tales, the theme is varied. Remember fairy tales in which there was such a theme:

about industriousness ("Morozko")

about resourcefulness, ingenuity ("Ivan Tsarevich and the gray wolf")

about friendship, fidelity ("Cat, rooster and fox")

about greed, stinginess ("Havroshechka", "The Fox and the Hare")

about modesty, simplicity ("The Tale of Rejuvenating Apples and Living Water")

about courage, courage ("Porridge from an ax")

about respect for parents, old people ("Masha and the Bear")

Teacher. Our fun and interesting journey has come to an end. One boy said: "If I were a fairy tale, I would not have a good end, I would have no end at all, I would go on and on:" But this does not happen, and therefore let's end our meeting with these words:

Let the heroes of fairy tales give us warmth,

May good always triumph over evil!

It's time for us to fly back. And thank you, Alyonushka. Goodbye, we will meet again in fairy tales. (To children). Children, stand on the carpet, close your eyes. We are returning. Carpet - the plane rises higher and higher. Below was a magical land. We fly over mountains, over seas, over dense forests. Here is our village, our school. We landed. Open your eyes, we are home again. New journeys are waiting for us. You will make these journeys with your faithful friends - books. We give each of you a book of fairy tales.

Summary of the lesson.

What new did you learn at the lesson today?

For whom was the lesson difficult?

What did you especially like?

Evaluation for active participation in the lesson and a mark for all students.

Homework.

Continue reading Russian folk tales.

Appendix 5

Characteristics of the level of development of creative abilities of students in the control class in the first ascertaining experiment

F.I. student	Cognitive criterion	Motivational-need criterion	Activity criterion	Middle level
F.I. student	Levels			Middle level
1	Kira K.	Short	Short	Short	Short
2	Julia K.	Average	Average	Average	Average
3	Sergey. WITH.	Average	Average	Average	Average
4	Anton. G.	Average	Average	Average	Average
5	Olga. Sh.	Average	Tall	Average	Average
6	Ludmila B.	Average	Average	Average	Average
7	Vyacheslav N.	Tall	Tall	Tall	Tall
8	Pavel S.	Tall	Tall	Tall	Tall
9	Elya O.	Average	Average	Average	Average
10	Sergei S.	Average	Average	Average	Average
11	Michael K.	Average	Average	Average	Average
12	Oksana Ch.	Average	Average	Average	Average
13	Olga T.	Average	Average	Average	Average
14	Julia D.	Average	Average	Average	Average
15	Michael K.	Tall	Tall	Average	Tall
16	Nicholas S.	Tall	Tall	Tall	Tall
17	Yura L.	Short	Short	Average	Short
18	Valery T.	Tall	Tall	Tall	Tall
19	Eugene B.	Average	Short	Short	Short
20	Mark T.	Tall	Tall	Average	Tall

Characteristics of the level of development of creative abilities of students in the experimental class in the first ascertaining experiment

№	F.I. student	Cognitive criterion	Motivational-need	Activity, criterion	Middle level
№	F.I. student	Levels
1	Nicholas B.	Tall	Tall	Tall	Tall
2	Sergey A.	Average	Average	Average	Average
3	I am above.	Average	Tall	Average	Average
4	Alexander B.	Average	Average	Average	Average
5	Oksana S.	Average	Average	Average	Average
6	Sergei Zh.	Average	Average	Average	Average
7	Tatyana T.	Tall	Tall	Tall	Tall
8	Daria G.	Average	Average	Short	Average
9	Alexey I.	Average	Average	Average	Average
10	Alexey K.	Average	Average	Average	Average
11	Natalya P.	Average	Average	Average	Average
12	Olga K.	Average	Average	Average	Average
13	Inna K.	Short	Short	Average	Short
14	Elena G.	Average	Average	Average	Average
15	Elena O.	Tall	Tall	Average	Tall
16	Roman K.	Tall	Tall	Tall	Tall
17	Glory S.	Short	Short	Short	Short
18	Ulyana F.	Tall	Tall	Tall	Tall
19	Gleb D.	Average	Average	Short	Average
20	Daniel Sh.	Short	Short	Average	Short

Appendix 6

Characteristics of the level of development of creative abilities of students in the control class in the second ascertaining experiment

F.I. student	Cognitive criterion	Motivational-need	Activity criterion	Middle level
F.I. student	Levels
1	Kira K.	Average	Tall	Short	Average
2	Julia K.	Average	Average	Average	Average
3	Sergey. WITH.	Average	Tall	Average	Average
4	Anton. G.	Average	Tall	Average	Average
5	Olga. Sh.	Average	Tall	Average	Average
6	Ludmila B.	Average	Average	Tall	Average
7	Vyacheslav N.	Tall	Tall	Tall	Tall
8	Pavel S.	Tall	Tall	Tall	Tall
9	Elya O.	Average	Average	Average	Average
10	Sergei S.	Average	Average	Average	Average
11	Michael K.	Average	Average	Average	Average
12	Oksana Ch.	Average	Average	Average	Average
13	Olga T.	Tall	Average	Average	Average
14	Julia D.	Average	Average	Average	Average
15	Michael K.	Tall	Tall	Average	Tall
16	Nicholas S.	Tall	Tall	Tall	Tall
17	Yura L.	Short	Short	Average	Short
18	Valery T.	Tall	Tall	Tall	Tall
19	Eugene B.	Average	Average	Short	Average
20	Mark T.	Tall	Tall	Average	Tall

Characteristics of the level of development of creative abilities of students in the experimental class in the second ascertaining experiment

№	F.I. student	Cognitive criterion	Motivational-need	Activity, criterion	Middle level
№	F.I. student	Levels
1	Nicholas B.	Tall	Tall	Tall	Tall
2	Sergey A.	Average	Tall	Average	Average
3	I am above.	Tall	Tall	Average	Tall
4	Alexander B.	Tall	Average	Average	Average
5	Oksana S.	Tall	Tall	Tall	Tall
6	Sergei Zh.	Average	Tall	Average	Average
7	Tatyana T.	Tall	Tall	Tall	Tall
8	Daria G.	Tall	Average	Average	Average
9	Alexey I.	Tall	Tall	Tall	Tall
10	Alexey K.	Average	Average	Average	Average
11	Natalya P.	Tall	Tall	Tall	Tall
12	Olga K.	Average	Tall	Average	Average
13	Inna K.	Average	Average	Average	Average
14	Elena G.	Tall	Average	Average	Average
15	Elena O.	Tall	Tall	Average	Tall
16	Roman K.	Tall	Tall	Tall	Tall
17	Glory S.	Average	Average	Average	Average
18	Ulyana F.	Tall	Tall	Tall	Tall
19	Gleb D.	Average	Average	Average	Average
20	Daniel Sh.	Average	Average	Average	Average

"Philosophical Encyclopedia" defines creativity as an activity that generates "something new, never before." The novelty resulting from creative activity can be both objective and subjective. Objective value is recognized for such products of creativity, in which still unknown laws of the surrounding reality are revealed, connections between phenomena that were considered unrelated to each other are established and explained. The subjective value of creative products takes place when the creative product is not new in itself, objectively, but new for the person who first created it. These are for the most part the products of children's creativity in the field of drawing, modeling, writing poems and songs. In modern studies of European scientists, "creativity" is defined descriptively and acts as a combination of intellectual and personal factors.

What is "creativity" or "creativity"? So, E.P. Torrens understood creativity as the ability to a heightened perception of shortcomings, gaps in knowledge, disharmony. In the structure of creative activity, he singled out:

1. perception of the problem;
2. search for a solution;
3. the emergence and formulation of hypotheses;
4. hypothesis testing;
5. their modification;
6. finding results.

The essence of creativity, according to S. Mednik, is in the ability to overcome stereotypes at the final stage of mental synthesis and in the use of a wide field of associations.

Thus, in its most general form, the definition of creative abilities is as follows. Creativity is the individual psychological characteristics of the individual, which are related to the success of any activity, but are not limited to the knowledge, skills and abilities that have already been developed by the student.

Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the well-known American psychologist J. Gilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:

1. Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).
2. Flexibility - the ability to express a wide variety of ideas.
3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).
4. Completeness - the ability to improve your "product" or give it a finished look.

1. The ability to see the problem where others do not see it.
2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.
3. The ability to apply the skills acquired in solving one problem to solving another.
4. The ability to perceive reality as a whole, without splitting it into parts.
5. The ability to easily associate distant concepts.
6. The ability of memory to give out the right information at the right moment.
7. Flexibility of thinking.
8. The ability to choose one of the alternatives for solving a problem before it is tested.
9. The ability to incorporate newly perceived information into existing knowledge systems.
10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation. Ease of generating ideas.
11. Creative imagination.
12. The ability to refine the details, to improve the original idea.

1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories. The ability to see the whole before the parts.
2. Supra-situational - transformative nature of creative solutions, the ability, when solving a problem, not just to choose from alternatives imposed from the outside, but to independently create an alternative.
3. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

1. The ability to take risks.
2. Divergent thinking.
3. Flexibility in thought and action.
4. Speed of thinking.
5. The ability to express original ideas and invent new ones.
6. Rich imagination.
7. Perception of the ambiguity of things and phenomena.
8. High aesthetic values.
9. Developed intuition.

The activation of creative activity is achieved, according to A. Osborne, due to the observance of four principles:

1) the principle of exclusion of criticism (you can express any thought without fear that it will be recognized as bad);
2) encouraging the most unbridled association (the wilder the idea, the better);
3) requirements that the number of proposed ideas be as large as possible;
4) recognition that the ideas expressed are not anyone's property, no one has the right to monopolize them; each participant has the right to combine the ideas expressed by others, modify them, “improve” and improve.

D.N. Druzhinin believes that in order to intensify creative activity, it is necessary:

1) the lack of regulation of subject activity, more precisely, the absence of a model of regulated behavior;
2) the presence of a positive model of creative behavior;
3) Flexibility in thinking and acting. creating conditions for imitating creative behavior and blocking manifestations of aggressive and deductive behavior;
4) social reinforcement of creative behavior.

1) problematic presentation of knowledge;
2) discussion;
3) research method;
4) creative work of students;
5) creating an atmosphere of collective creative activity in the classroom.

1) by the result (product) of activity;
2) according to the way it proceeds (process).

It is obvious that in educational activity the elements of students' creativity are manifested, first of all, in the peculiarities of its course, namely, in the ability to see the problem, to find new ways to solve specific practical and educational problems in non-standard situations.

Creative activity contributes to the development of creative abilities, an increase in the intellectual level.

The problem of human possibilities aroused great enthusiasm of people in all epochs. The analysis of the difficulty of developing creative possibilities will in many respects be intended by the entry that we will put into this opinion. Extremely often in the daily consciousness creative possibilities are identified with the possibilities for various forms of artistic efficiency, with the ability to beautifully depict, invent verses, scribble music, etc.

For almost all years, the problem of developing the creative abilities of students has attracted close interest from representatives of various fields of scientific knowledge - philosophy, pedagogy, psychology, linguistics and others. This is connected with the continuously growing needs of the modern community in functional persons who are able to create the latest difficulties, find high-quality solutions in the conditions of uncertainty, multiple choice, constant improvement of the knowledge accumulated by society, as “today, ability and creative talent become a deposit. Thus, there is no whole definition of creativity, but a huge number of works on developmental, general psychology, as well as the psychology of creativity, covers a lot of facts that help to learn the essence of the phenomenon under study.

What is creativity really?

Let us consider how the sciences of philosophy and psychology define creativity.

Philosophy does not consider creativity as a process, but anticipates that the innate world of a person composes what he has developed and perfected in himself: the properties of active possibilities. The General Philosophical Dictionary positions creativity as an activity that gives birth to something new that has never been.

Psychologists consider creativity as the highest degree of logical thinking, which is an impetus to efficiency, "the result of which is the material and spiritual values made."

Today, many psychologists argue that the definition of creativity as "... a system of actions leading to the creation of a new product" cannot be considered satisfactory. So, many psychophysiologists S.M. Bondarenko, V.S. Rotenberg consider creativity as a kind of search activity - a type of activity that is focused on changing the problem situation or changes in the subject interacting with it. Ya.A. Ponomarev in his concept says that the essence of creativity comes down to intellectual activity and synzetivity to by-products of one's activity.

Philosophers define creativity as “mental and practical activity, the result of which is the creation of unique, inimitable values, the discovery of new facts, unusual things, patterns, and also ways of studying and reincarnating the material grid or spiritual culture; if it is the newest only for its creator, then the novelty is subjective and has no public significance.

Psychologist A. Ponomarev, interpreting the opinion "creativity", defined it as a "mechanism of productive development" and did not consider "novelty" a decisive aspect of creativity. Bibler V.S., opening the essence of creativity from the standpoint of psychology, describes that “creativity is understood as the process of creating something new for the provided subject.” Therefore, it is clear that creativity in one form or another is not the talent of the "chosen ones", it is publicly available to anyone.

There are various explanations for creativity. The physician Edward Land describes it as a "sudden retreat of stupidity", and the physician Margaret Mead believes that a person, working, developing or inventing something new for himself, makes a document of creativity. The word "new" is inherent or allowed in most definitions of creativity. Many researchers tried to create the concept of creativity, but their approaches and interpretation differed significantly.

A look at the work of leading practitioners deserves interest (V. Sukhomlinsky, A. Zakharchenko, V. Shatalov, Sh. Amonashvili, V. Irzhavtseva, etc.). V. Sukhomlinsky defined creativity as a special sphere of spiritual life, self-affirmation, when originality and feature of every child. A. Zakharchenko considers the work of younger schoolchildren as a special benign and immediately public sphere, since its results are specifically addressed to the personality of the student, they influence the interest in the action of knowledge, learning the need to study, great moral properties.

Creativity is a search that reveals to a person what is not yet famous, contributing to the expansion of the limits of knowledge. The product of creativity is certainly original, individual. The main thing is the fact that the components of creativity are allowed to meet in any human efficiency, including in the study of various educational disciplines.

Creativity is a conclusion beyond the given (Pasternak's "over the barriers"). This is only a bad definition of creativity, but the first thing that catches your eye is the similarity of the behavior of a creative person and a person with mental disorders. The behavior of this and that deviates from the stereotyped, universally recognized.

Creation, it is an activity that generates "something new, never before." The novelty resulting from creative activity can be both objective and subjective. An impartial value is recognized behind such products of creativity, in which still unknown patterns of the reality around are revealed, connections between phenomena that were considered unrelated to each other are installed and explained. The subjective importance of the goods of creativity dominates space when the product of creativity is not new in itself, impartially, but is new for the person who created it for the first time. Such, according to a greater proportion, are the products of childish creativity in the field of drawing, modeling, fantasizing poems and songs. In modern research by European experts, "creativity" is defined descriptively and appears as an intricacies of intellectual and personal reasons.

It goes without saying that the opinion we are examining is connected in a narrow way with the opinion "creativity", "creative activity". Contradictory judgments of experts in accordance with the pretext of such that believe creativity. In everyday life, creativity is traditionally called, firstly, activity in the field of art, secondly, design, education, implementation of the latest projects, thirdly, scientific Knowledge, the formation of the intellect, fourthly, thinking in its highest form, going beyond the limits required to solve the problem that has already appeared by popular methods, manifesting itself as a fantasy, which is a condition for mastery and initiative.

"Creative we call each activity, which creates something new ... Claiming that creativity is a necessary condition for existence, and everything around owes its origin to the creative process of a person ”such is the position of the famous psychologist L. Vygotsky on creativity.

Creative person, according to V.I. Andreev, is a type of personality that is characterized by perseverance, a high level of focus on creativity, motivational and creative activity, which manifests itself in organic unity with a high level of creative abilities, allowing it to achieve progressive, social and personally significant results in one or more types of activities.

V. Levy characterizes the stages of creativity as follows: “In his own works, somewhere in himself, he reveals the newest, most wonderful world. And then you need to find yourself in the community, yourself in a person, yourself in the world.

A person begins to think creatively even at a childish age, since any situation for a baby was the latest and required the latest (creative) approach, solution. The kid does a lot of things every day: small and huge, ordinary and difficult. And any business is a task, sometimes the most, sometimes the least difficult. When solving problems, a document of creativity arises, located newest way or something new is being created. This is where the special properties of the mind are required, such as attentiveness, the knowledge to compare and disassemble, to find connections and dependencies - all that, in aggregate, composes creative possibilities.

But, evenly, as Gerald Nirenberg notes, “we become limited and forget that we can exist as a creative person. Almost all of us, during our own lives and beyond, specifically inherit the stereotypes set in this way. According to the definition of J. Nirenberg, creative thinking is “knowledge of something new. It is a mixed proportion of human intelligence." In his own studies, Z. Freud also focused on the big divisions between the brilliant mind of a baby and the smoldering mentality of a mature one.

Some teachers distinguish such traits of a creative personality as the unity of what is perceived, the reduction of opinions, the capacity for caution (consistency, creativity, disapproval of the presentation), the movement of speech, preparedness for risk, disposition for fun, instinct and subconscious processing of information, etc.

O. Kulchitskaya also highlights such features of a creative personality:

The emergence of directed interest in a particular area of knowledge, even in childhood;

High work capacity;

Subordination of creativity to spiritual motivation;

Persistence, stubbornness;

Passion for work.

A. Maslow considers the highest needs of a creative person:

curiosity;

The need to comprehend the environment;

Aesthetic need for beauty;

Symmetries;

Order and simplicity.

Comparatively educational and creative efficiency in psychological and pedagogical science, the following characteristics of a creative personality are highlighted:

1. Motivation - creative energy and direction of the individual;

2. Intellectual and logical capabilities - (knowledge to disassemble, abstract, put a hereditary sign and species difference, draw conclusions, justify).

The intellectual and logical abilities of students are revealed in:

a) the ability to understand. The evaluation aspects of parsing are fidelity, completeness, abyss;

b) the ability to separate the important solid and drive away from the not important (abstraction). The aspect of evaluation is consistency, fidelity, an abyss of judgments and conclusions;

c) in the ability to describe phenomena, processes, logically coherently, many and correctly formulate ideas. The aspect of evaluating this skill is completeness, abyss, consistency;

d) the ability to express the correct definition of the object, to set generic symptoms and specific differences. The aspect of evaluating this possibility is the conciseness, the correctness of the formulated definition;

e) the ability to explain, which indicates the intellectual and logical ability to reasonably explain and discover the essence of the issue, difficulty, method of solving it. An aspect of the assessment is the completeness, motivation of judgments;

e) the ability to substantiate, prove. An aspect of the assessment is the capacity to prove and the examination by the confirmation procedures;

3. Intellectual-heuristic, intuitive abilities, (the ability to evoke a hypothesis, the ability to fantasize, display and establish new connections between the components of the task in the mind, see contradictions and problems, the ability to transfer knowledge, skills to a new situation, abandon an obsession, critical thinking ).

Mentally - heuristic capabilities of the individual include:

a) the ability to produce ideas, put forward hypotheses that characterize the intellectual-heuristic individuality of a person in terms of limited information, predict the conclusion of creative tasks, mentally predict and put forward unique approaches, strategies, ways to solve them. The aspect is the number of hypotheses, their originality, novelty, effectiveness for solving a creative problem;

b) capacity for invention. It is a creation of images and opinions. An aspect of evaluation is the saturation and originality of images, novelty, significance of fiction;

c) combines memory, ability to show and put in mind the latest connections between the components of the problem, especially popular and unknown for similarity. The evaluation aspect is the number of associations, their originality, novelty, effectiveness for solving the problem;

d) ability to create contradictions and difficulties. An aspect of evaluation is the number of open contradictions, their novelty and originality;

e) capacity to transfer knowledge and skills to the new situation characterizes the productivity of thinking. An aspect of assessment may be the width of the transfer, the degree of efficiency of the transfer of knowledge and skills for solving creative problems;

f) the ability to drive away from an annoying idea, to overcome the inertia of thinking. An aspect of the assessment is the stage of the speed of switching thinking to the newest method of thinking of a creative problem, the elasticity of thinking in the search for the latest approaches to the analysis of contradictions that appear;

g) independence of thinking characterizes the capacity not to follow in vain the generally accepted point of view. Aspect of evaluation - elasticity and inversion of thinking;

g) disapproval of thinking is the ability to make value judgments, the knowledge to correctly evaluate the process and results of one’s own creative efficiency and the efficiency of others, the knowledge to find personal oversights, their prerequisites and prerequisites for failures. An aspect of evaluation may be the impartiality of the criteria for value judgments, as well as the effectiveness of identifying the circumstances of one's own mistakes and failures;

4. Worldview individuality of the individual;

5. Moral properties that distinguish successful educational and creative efficiency;

6. Aesthetic properties;

7. Communication and creative opportunities;

1. The ability to self-manage the personality of their educational and creative activities.

The above indicators are a tool for diagnosing the level of existing creative abilities and identifying their potential for the psychological and pedagogical foundations for the development of creative abilities of younger students.

On the basis of psychological and pedagogical literature, we came to the conclusion that the creative abilities of an individual are a synthesis of its characteristics and character traits that characterize the level of their compliance with the requirements of a certain type of educational and creative activity and which determine the level of effectiveness of this activity.

The innovative psychological and pedagogical discipline states that homozygosity forms only the basis for the development of the student's creative abilities, describes their boundaries, and training and education affect the realization of creative opportunities. J. Stinger clarified that nothing guarantees the highest degree of mental capabilities in the sensitive realization of creativity. Reason is a limitation necessary for creativity, against which it is by no means sufficient. We need a constant purposeful service of the teacher in identifying and developing in the learning process the inclinations and abilities of students for creativity. MM. Skatkin extremely rudely, but correctly defined: "Innovative education, the purpose of which is to say a popular and similar amount of knowledge for everyone, looks like a general destruction of talents."

In order to guide the action of the formation and development of opportunities, students need to be aware of their actual and probable levels.

The highest degree of student achievement does not always come down to the highest level of creative gift. There is bondage, but it does not have a straightforward disposition.

"A creative person is a person who is able to penetrate the essence of ideas and implement them in spite of all obstacles until a practical result is obtained." This is exactly what T. Edison had in mind.

Much attention is paid to the definition of the concept of a creative personality in philosophical, pedagogical and psychological literature (V.I. Andreev, D.B. Bogoyavlenskaya, R.M. Granovskaya, A.Z. Zak, V.Ya. Kan-Kalik, N.V. Kichuk, N.V. Kuzmina, A.N. Luk, S.O. Sysoeva, V.A. Tsapok and others). N.V. Kichuk defines a creative personality through its intellectual activity, creative thinking and creative potential.

Most of the creators agree that a creative person is an individual who has the highest level of knowledge, has a zeal for a new, unique. For a creative person, creative activity is a vital need, and a creative manner of behavior is more appropriate. The main indicator of a creative personality, its more basic feature is the presence of creative abilities, which are considered as individual psychological capabilities of a person that meet the needs of creative efficiency and are a condition for its successful implementation. Creative possibilities are connected with the creation of the newest, unusual product, with the search for the latest means of efficiency. Creative ingredients do not, by themselves, guarantee creative possibilities. For their merit, they also need an engine that would put the device of thinking into operation, then there is the necessary desire and freedom, the necessary “motivational basis”.

The works of scientists R.S. Nemova, S.L. Rubinstein and B.M. Teplova, V.D. Shadrikova, I.F. Kharlamova, V.A. Krutetsky, I.A. Zimney, V.N. Druzhinin.

Among them, especially, I would like to note the works of B.M. Teplov. B.M. Teplov considers abilities, first of all, as individual psychological differences between people. Giving a definition of abilities, the scientist believes that it should include three features:

Firstly, individual psychological individualities are assumed to be capabilities that distinguish one person from another; no one will speak of possibilities after where it comes to properties, in respect of which all people are the same;

Secondly, it is not personal individualities in general that are called opportunities, but only those who have news of the successful performance of some businesslike activity or almost all activities;

Thirdly, the opinion "ability" is not united to those knowledge, skills or abilities that have already been developed by the given person.

Meaning by the possibilities such individual psychological individualities, which have news of the success of the execution of one or another businesslike activity, B.M. Teplov raises the question that the successful performance of some kind of human efficiency can be guaranteed not by a separate possibility, but only by that typical combination of them that characterizes a given person. At the same time, these separate possibilities, in accordance with the concept of B.M. Teplov, are not simply located and autonomous from each other, and any of them can change, get a completely different disposition, which depends on the availability and level of development of other opportunities.

B.M. Teplov in his work "Difficulties of Personal Differences" puts forward the state that a successful creative performance of efficiency can be achieved psychologically in different ways. He emphasizes that nothing is lacking more lifeless and scholastic than the idea that there is only one method for the successful execution of every business. Literate believes that these methods are infinitely heterogeneous, just as heterogeneous as human capabilities are heterogeneous.

According to the concept of B.M. Teplov, opportunities are formed in efficiency. This idea comes from the general thesis that mental characteristics appear and are created in efficiency. In this regard, he writes: "The point is not that opportunities appear in efficiency, but that they are formed in this activity." There are opportunities in development, they are not a permanent quality of a person, their formation can only be in efficiency.

In the works of B.M. Teplova remains grim role of makings in the development of opportunities. To the inclinations, he attributed in the main characteristics of the highest nervous efficiency. “Typological characteristics of the nervous system enter into the composition of the natural foundations for the development of capabilities, into the composition of the so-called “inclinations”. Perhaps they even occupy an important space in the data structure of the natural prerequisites of abilities. By this arrangement, in a certain degree, the duality that owns the space in his statements is removed in accordance with the preposition of inclinations. On the one hand, assuming the makings of an anatomical and physiological basis, which cannot be transformed into mental formations, which are possibilities. And on the other hand, asserting the state that opportunities are the result of development that occurs in the course of learning and learning, B.M. Teplov writes that “one of the corresponding signs of not bad inclinations to the development of any possibility is early, and moreover, independent, i.e. not requiring special pedagogical measures, the image of this ability ".

The problem of possibilities received a thorough theoretical and practical development in the works of S.L. Rubinstein, before that, only in terms of development, the formation of opportunities, and later - in terms of revealing their psychological structure.

In his own works, such as "Bases of General Psychology", "Existence and Consciousness", "Views and Ways of Development of Psychology" S.L. Rubinstein meant by possibilities suitability for a certain efficiency. He believed that the key indicators that allow one to judge the possibilities are the ease of assimilation of the latest efficiency, and also the width of the transfer of the methods of perception and action developed by the individual from one efficiency to another. Legal capacity, in accordance with the concept of S.L. Rubinstein, represents a difficult synthetic formation of personality.

Huge interest and B.M. Teplov and S.L. Rubinstein paid attention to the question of the role of inclinations in the development of opportunities. In particular, B.M. Teplov, opposed the recognition of innate capabilities and believed that popular natural prerequisites, to which he attributed inclinations, have every chance of being innate. According to this pretext, he wrote: “Only anatomical and physiological individualities have every chance of being congenital, i. the inclinations that underlie the development of possibilities, while the possibilities themselves are constantly the result of development.

S.L. Rubinstein, like B.M. Teplov believes that opportunities are not limited to knowledge, skills and abilities. Analyzing their relationship, experts make a conclusion about the mutual conditionality of these opinions: on the one hand, opportunities are a prerequisite for mastering knowledge and skills, on the other hand, in the process of this mastery, the creation of opportunities occurs.

Abilities develop on the basis of various psychophysical functions and mental processes. S.L. Rubinstein is already talking about the role of psychophysical functions. Later, developing the approaches of B.M. Teplova and S.L. Rubinstein, V.D. Shadrikov used the concept of "functional system" to define the concepts of "ability" and "giftedness" from the standpoint of psychophysical functions.

S.L. Rubinstein defines ability several times in different light. Defining the ability in terms of development, S.L. Rubinshtein outlines the duality of the approach in determining abilities. In his opinion, ability is a complex synthetic formation, including a number of qualities, without which a person was not capable of any activity, and properties that are developed only in the process of organized activity in a certain way.

Thus, in contrast to Teplov B.M., Rubinshein S.L. along with the activity approach, it also refers to a personal approach in determining opportunities, when a person is considered not only as being formed in the process of efficiency, but also predetermining the nature of the given efficiency.

The main efficiency, which guarantees the creation of mental parameters and properties of a child of school age, is educational, cognitive activity. At the same time, it performs the function of personality development more intensely when it only develops, i.e. at primary school age. The formation of the baby results only in efficiency. Only with their own relics is it allowed to study the experiment and knowledge accumulated by the population of the earth, to grow their intellectual and other possibilities.

At primary school age, a significant continuation and gorge of knowledge occurs, the skills and abilities of the baby are improved. This process progresses and by grades 3-4 leads to the fact that most children have both general and special opportunities for various forms of efficiency. General opportunities appear in the speed with which the child acquires the latest knowledge, skills and abilities, and special opportunities appear in the depth of the study of individual school subjects, in special types of worker efficiency and in communication.

Of particular importance for development in primary school age is the motivation and the greatest implementation of the motivation for the merit of success in educational, working, and gaming efficiency. Strengthening such motivation, for the upcoming development of a younger student, is seen as especially suitable at times of life, brings a double benefit:

Firstly, the schoolchild has a vitally very useful and fairly stable personality trait - the motive for achieving success, which dominates the motive for avoiding failure;

Secondly, it leads to the accelerated development of various other abilities of the child.

The thinking of a younger student undergoes very large changes in the learning process. The development of creative thinking leads to a qualitative restructuring of perception and memory, to their transformation into arbitrary, regulated processes. Therefore, it is important to influence the development process correctly, since for a long time it was believed that the child’s thinking is like an “underdeveloped” thinking of an adult, that the child learns more with age, gets smarter, and becomes quick-witted. However, now psychologists do not doubt the fact that the thinking of a child is qualitatively different from the thinking of an adult, and that it is possible to develop thinking only based on knowledge of the characteristics of each age. The child's thinking manifests itself very early, in all those cases when a certain task arises before the child. This task can arise spontaneously, come up with an interesting game on your own, or the task can be offered by an adult specifically for the development of the child's thinking.

Studies of children's creativity allow us to distinguish at least 4 stages in the development of creative thinking:

Visual and effective;

Causal;

heuristic

Creative.

Visual and effective thinking is born from action at a younger and early age. In the process of developing visual-active thinking, the child develops the ability to single out in an object not just its external properties, but precisely those that are necessary for solving a problem. This ability develops throughout life and is absolutely necessary for solving any, the most complex problems.

Development causal thinking children begin with awareness of the consequences of their actions. In a 4-5-year-old child, cognitive interests shift from individual objects, their names and parameters to the relationships and connections of phenomena. They begin to occupy not elementary objects, but actions with them, the interactions of people and objects, the interdependence of circumstances and consequences. At first, children learn to intend actions on real objects, then with language material: in a word, expression, text. Thanks to independence, the baby learns to rule his own thinking; set research goals, put forward hypotheses of cause-and-effect relationships, examine the facts popular to him from the standpoint of the hypotheses put forward. These possibilities are, without a doubt, the main prerequisites for creativity at the step of causal thinking. The disapproval of thinking takes place in the fact that children begin to regard their own and other people's activity from the point of view of the laws and rules of nature and society. Foresight and planning lies at the basis of creativity at the step of cause-and-effect thinking. This is how the plots of mind-blowing stories and fairy tales appear.

The adjective approximate is made from the word heuristics (from eureka - “found, discovered”) - a discipline about the actions and methods of discovering the newest. The goal of heuristics is to study the methods and criteria that lead to discoveries and inventions. Heuristic judgment is not decisive, but is considered as preliminary, the purpose of which is to find a conclusion for a specific problem.

It turns out that heuristic thinking gives a person the possibility of directing his search activity to the best solution to the problem, to acquiring the latest knowledge. According to the concept of certain experts, heuristic thinking is auxiliary and occupies an intermediate space between algorithmic and creative thinking. This is coupled with different views on the consciousness of heuristics.

The opinion "heuristics" meant in ancient Greece the method of verbal learning used by Socrates (469 -399 AD) (recall the "Socratic conversations"). The student had to find the real conclusion by answering the leading questions of the teacher, who led the conversation in accordance with a good path to new knowledge. Socrates believed that any person is unique, which means that his peculiarity, including personal individuality of thinking, deserves interest and respect. At that time, the activity of Socrates was interpreted as creative, the term "heuristics" was not yet used, wishing and there was a need for the origin of an opinion not related to "reified" creativity.

Mixolydian disciple Pappus of Alexandria in the 3rd century AD carefully studied the works of ancient thinkers, including mathematicians, and identified logical methods and others, with the support of which the conclusion of the problem was found. He combined the extreme ones and gave them the relative name "Heuristics". In a treatise entitled "The Treasury of Analysis" (or "The Art of Settling Problems"), Pappus of Alexandria offered various ways to solve the problem, including non-logical ones;

creative thinking

Creative thinking is characterized by the creation of a tendentious new product and new formations in the most cognitive efficiency in accordance with its creation, touching the goals, motives, assessments and meanings of the efficiency itself. Such thinking is distinguished by the ability to transfer knowledge and skills to the newest situation, the vision of the newest difficulty, both in a familiar and unusual situation, the ability to predetermine the newest function of an object. Creativity is a search that reveals to a person what is not yet famous, contributing to the expansion of the limits of knowledge. The product of creativity is certainly original, individual. This is explained by the fact that it is in the primary school age that the baby creates “creativity”. However, often the education system in grades 1-4 is mainly based on the performance by children of training exercises to consolidate some experience (for example, calligraphy). Consequently, the teacher gives a ready-made model of the act, and the children “stenciled” perform the exercises. The implementation of the educational process in this manner leads to the development of a “solution stamp” for the assignment, as a result, the search activity is curtailed, and the kid gradually loses enthusiasm not only for learning, but also for the creative process.

It is possible to single out the components of the structure of creative abilities:

1. The ability to independently transfer knowledge and skills to a new situation;

2. The ability to see new problems in a familiar situation;

3. The ability to independently combine known methods of activity into a new one;

4. Ability to find different ways problem solving and alternative evidence;

5. The ability to build a fundamentally new way of solving a problem, which is a combination of known ones.

These creative abilities do not manifest themselves simultaneously when solving a particular problem, but in various combinations and with different strengths.

In the psychological and pedagogical literature, next to the term "creative personality" is the term "creative personality".

The most successful approach to this definition was proposed by S.O. Sysoev. Under the creative person Sysoeva S.O. thinks of such a person who owns the internal preconditions (personal inclinations, neurophysiological inclinations) that ensure her creative energy, then there is a search energy that is not stimulated from the outside, is not always productive. We call productive creative vigor creative efficiency, that is, such a creative action, as a result of which a new movement appears.

A creative person is a creative person who, after the impact of external causes, acquired additional motives, personal inclinations, and opportunities necessary for actualizing the creative potential of a person, which affect the achievement of creative results in one or several types of creative activity.

Ordinary school education covers, in the main, components of an explanatory and illustrative type, when the teacher himself raises difficulties and himself shows ways to solve them. With this type of learning, the criterion component becomes decisive, i.e. the sum of knowledge at the end of training, while educational study, procedural orientation remains outside the scope of didactic searches. The confirmed entrance organizes the processes of education on the basis of the predominance of reproductive efficiency, detailed fruits.

Psychological and pedagogical science notes that in the conditions of rapidly growing information of the XXI century. of particular importance is the development and activation creative thinking: in any activity, not only the assimilation of a certain amount of knowledge by the student is significant, but also the ability to apply them in solving various issues or problems.

The formation of creative efficiency implies the formation of creative thinking. Most experts highlight the following aspects of creative thinking.

The productivity of thinking is the ability to produce a very large number of ideas in protest against a problem situation. For example, we recommend that the child invent and sketch as many stories as possible on one topic; to starch in every way the sails of similar yachts; find similarities between objects, etc. - the more ideas the kid is able to forge, the greater the productivity of his thinking.

The originality of thinking is the ability to put forward the latest unexpected ideas that differ from the widely recognizable, obvious ones. Most professionals in the field of creative psychology consider this characteristic to be the main indicator of creative possibilities. In the process of solution, unusual, unique ideas should be helped and encouraged.

Flexibility of thinking is the ability to quickly and easily find the latest strategies for solving, to establish unusual associative connections, to run in thinking and behavior from phenomena of the 1st class to others, often distant in accordance with the content.

The ability to exercise the idea - success in creativity is not only for those who can form the latest ideas, but also for those who are able to creatively exercise existing ones. This ability clearly takes place in the detailing of the completed drawing, in the ability to fill the invented, one's own story with fascinating details and details, in the level of depth of penetration into the problem being solved. This property traditionally testifies to the highest level of general mental development of the baby.

Thus, evenly creating all kinds of thinking with the development of a child's creative approach to any set task, it is allowed to give him the opportunity for such that he grows up as a thinking and creative person.

Since the substance of creativity can be in any guise of human efficiency, it is correct to speak not only about artistic creative possibilities, but also about technical creative possibilities, about mathematical creative possibilities, and so on. The levels of achievements can be determined by the tasks that the subject sets for himself, or by the successes themselves, here V.A. Molyako identifies three conditions: the desire to surpass existing achievements (to do better than it is); achieve top class results; to realize the most important task (maximum program) - on the verge of fantasy.

In terms of emotional response to the performance of activities, enthusiasm, the author distinguishes three types: inspirational (sometimes euphoric); confident; doubting.

Thus, V.A. Molyako gives a structure that describes different types of giftedness in a rather diverse way, their dominant properties, the originality of combinations of more fundamental properties. It is easy to understand that everything that relates to general creative endowment has a specific message and to various forms of special endowment - scientific, technical, artistic, etc.; it is obvious that at the same time we are dealing with the manifestation of certain dominant properties, unusual features that describe the specifics of creativity in a particular area of human efficiency.

In the philosophical and psychological sciences, creativity is regarded as a document of the mechanical, in which place the decisive role is assigned to intuition, and as activity. Adhering to the second point of view, we believe that creativity is, before that, only activity, which in turn can exist in social, working, creative, etc.

Fantasy plays a gigantic role in the development of creative efficiency. This was stated by L.S. Vygotsky in his work “Fantasy and Creativity in Childhood”: “The main direction in the development of childish imagination is the transition to the most true and absolute reflection of reality on the basis of appropriate knowledge and the development of critical thinking. The corresponding individuality of the younger student's imagination is his defense of specific subjects. So, in fun, children use toys, family items, etc. without this, it is difficult for them to create images of the imagination. Literally in the same way, when reading and telling a child, it is based on a picture, on a certain image. Without this, the student cannot estimate, restore the situation being described.

In this case, we are dealing with a creative action based on conjecture, intuition, autonomous thinking of the student. What is important here is the very mental device of efficiency, in which the knowledge is created to settle unconventional, extraordinary mathematical problems.

The successful creation of creative thinking in younger schoolchildren can only be based on the teacher taking into account the main unusual features of childish creativity and solving the central tasks in the development of creative thinking.

There are 3 main approaches to the dilemma of creative possibilities. They have every chance to exist formed in the following way.

1. As such, there are no creative abilities. Intellectual talent acts as a necessary, but missing condition for the creative energy of the individual. A key role in determining creative behavior is played by motivations, values, personality traits (A. Tannenbaum, A. Olokh, D.B. Bogoyavlenskaya, A. Maslow and others). Among the main devils of a creative personality, these scientists include cognitive talent, affectation to dilemmas, independence in uncertain and difficult situations.

The key is the theory of D.B. Bogoyavlenskaya, who introduces the idea of the creative energy of the individual, believing that it is due to a certain mental structure inherent in the creative type of personality. Creativity, from the point of view of Bogoyavlenskaya, is a situationally unstimulated energy, manifested in the desire to get out of the given difficulty. The creative personality type is inherent in all innovators, regardless of the kind of efficiency: test pilots, painters, inventors.

2. Creativity (creativity) is an independent factor, independent of intelligence(J. Gilford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a softer version, this theory says that there is a slight correlation between the level of intelligence and the level of creativity. The most developed concept is E.P. Torrance.

3. A high level of intelligence implies a high level of creativity and vice versa. There is no creative process as a specific form of mental activity. This point of view was and is shared by almost all experts in the field of intelligence (D. Wexler, R. Weisberg, G. Eysenck, L. Theremin, R. Sternberg and others).

The individuality of the creative thinking of schoolchildren is that the schoolchildren are not critical of their own product of creativity. The childish plan is not sent by any ideas, aspects, requirements, and therefore is subjective.

A characteristic sign of the creative efficiency of children is the subjective novelty of the product of efficiency. In accordance with its own impartial meaning, the "discovery" of the baby can exist as a brand new, unusual, but at the same time be done in accordance with the instructions of the teacher, in accordance with his idea, with his support, and therefore not be creative. And at the same time, the kid can recommend such a conclusion, which is already clear, was used in practice, but he thought of it without the help of others, without copying the famous.

It goes without saying that in educational efficiency the components of students' creativity appear, before that, only in the unusual nature of its course, and specifically in the ability to create a problem, to find the latest methods for solving specific practical and educational problems in unusual situations.

Thus, it is allowed to conclude that creative activity is activated in a suitable atmosphere, with benevolent assessments from teachers, the approval of unique expressions. In this case, open questions play a significant role, prompting schoolchildren to think, to search for different answers to the same questions of the curriculum. Even better, if the students themselves are allowed to ask such questions and answer them.

Creative activity contributes to the development of creative abilities, an increase in the intellectual level.

In connection with the problem of introducing the latest educational paradigm in the 21st century, there are growing demands for the development of the creative capabilities of the younger student. The student is obliged to possess elastic productive thinking, developed functional imagination for solving the most difficult problems that life puts forward. Violent changes occur in the community. A person is obliged to answer them correctly and, consequently, is obliged to activate his own creative potential. In accordance with this, it is necessary to select and develop adequate means for the formation of creative productive thinking, because old ones do not meet the educational paradigm of the new millennium.

Creating creative opportunities in the learning process is a fundamental task in accordance with the inculcation of practical skills and technological mastery in the younger student. It is important for younger students to learn how to write down the components of fiction, the probable abundance of their own creative ideas, into the work at the lessons of teaching literary reading.

In the psychological and pedagogical literature, the following types of creative activity are distinguished:

Cognition "... the educational activity of the student, understood as a process of creative activity that forms their knowledge";

Transformation - the creative activity of students, which is a generalization of basic knowledge that serves as a developing source for obtaining the latest educational and special knowledge;

Creation is a creative activity that involves the design by students of educational products in the areas of study;

The creative use of knowledge is the activity of students, which involves the introduction by the pupil of his idea when using knowledge in practice.

All this makes it possible to find the opinion “creative activity of younger schoolchildren” as a productive pattern of efficiency of elementary school students, aimed at studying by a creative experiment knowledge, creation, transformation, application of objects of material and spiritual culture in a new quality in the process of educational efficiency, organized in cooperation with the teacher. The cognitive motivation of the creativity of a younger student takes place in the form of search energy, the highest sensitivity, sensitivity to the novelty of a stimulus, situation, the discovery of the newest in the ordinary, the highest selectivity in accordance with the attitude to the novelty being studied (subject, quality).

L.S. Vygotsky creative activity names such activity of a person that forms something new, everything is the same whether it becomes, made by creative efficiency, some thing of the outer grid or a popular construction of reason or sensation, living and manifesting itself only in the person himself. If we look at the behavior of a person, at all his activity, we will simply see that in this efficiency it is allowed to recognize 2 main types of actions. One category of efficiency can be called recreative or reproductive: it happens to be closely connected with our memory, its essence lies in the fact that a person recreates or repeats previously created or developed methods of behavior or restores imprints from former impressions.

In addition to reproducing activity, it is easy to notice another kind of this activity in human behavior, namely, combining or creative activity.

L.S. Vygotsky declares that each such activity of a person, the result of which is not the re-creation of past memories or actions in his experiment, but the creation of new images or actions, will begin to have another kind of creative or combining behavior. The brain is not only an organ that preserves and recreates a former experiment for us, but there is also an organ that combines, creatively processes and forms new dispositions and new behavior from the parts of this former experiment. If man's activity were limited to a mere re-creation of the old, then man would be a creature turned only to the past, and would be able to acclimatize to the future only insofar as it re-creates the past. Specifically, the creative activity of a person makes him a creature facing the future, creating it and modifying his native present.

The formation of creative efficiency in the first place depends on a perceptive, polite teacher, on his creative potential. The problem of creativity occupies a huge space in pedagogical efficiency. An avant-garde teacher, developing the creative abilities of students, in search of more adequate ways of teaching and learning, is himself a creator and innovator. The creativity of the teacher covers various aspects of his efficiency - building a lesson, talking, working on organizing a team of students in accordance with their age and personal traits, constructing the personality of students, developing a strategy and strategy of pedagogical efficiency in order to rationally solve the problems of the multilateral development of the baby. The task of any teacher is to form cognitive activity in all students, to notice all kinds of creative manifestations of pupils, to create conditions for the development of creative abilities in the classroom and in extracurricular activities.

Thus, the analysis of psychological and pedagogical literature allowed us to consider the creative activity of the student as the highest stage of cognitive efficiency, which has certain features: individual disposition, bondage from the stage of development of reproductive efficiency.