Goals and objectives of fiction in preschool educational institutions

The relevance of the problem of social and moral education in preschool educational institutions

Currently, the problem of social and moral education is very relevant and complex.
Changes in society, criticism of certain processes of social life, the emergence of new social phenomena have led to the fact that manifestations of kindness and compassion, love and empathy have become increasingly rare. In society, material values have come to the fore; they prevail over spiritual values. Manifestations of child cruelty and aggressiveness of children towards each other and towards loved ones are becoming more and more common. It has become more difficult for children to build friendly relationships; it is difficult for them to agree on joint actions during play activities. Modern cartoons rarely pursue the task of moral education, therefore, under the influence of these cartoons, children's ideas about moral qualities - about mercy, justice and kindness - are distorted. But despite the changes taking place in society, the education in children of moral qualities, emotional attitude towards loved ones and others must remain unchanged. Therefore, the moral education of children is one of the key tasks.

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Preschool age is the most sensitive for developing moral rules and norms of behavior, the ability to empathize and compassion. That is why it is necessary at this age to lay the correct foundations of the child’s personality. At preschool age, the formation of the child’s personality begins, his worldview, understanding of evil and good, reaction to the actions of other people are formed, and behavioral characteristics are formed. At this age, the child develops an attitude towards the Motherland, respect for others, goodwill, and a desire to help others.

How to teach reading fiction, or a philological approach to literary text

The art of reading can make an excellent professor of literature. V. Ostrogorsky

Fiction is of interest to scientists of various specialties: not only literary scholars and linguists, but also psychologists, sociologists, historians, etc. However, before studying a literary work, you need to... read it.

And everyone here is a professional in the humanities, representatives of other specialties, as well as people without special higher education, etc. - are equal: at the first (not necessarily one-time) acquaintance with a literary text, any of us is a READER. Of course, depending on your individual experience, you can be a skilled reader, that is, have mature reading skills, or you can just begin to learn the difficult art of reading fiction.

Determining the goal. The task of teaching how to read fiction is relevant for various forms of education: secondary schools, training philology students, etc. It is, to one degree or another, declared and implemented in the practice of teaching Russian literature and Russian as a native language, as well as in teaching the Russian language and Russian literature foreigners.

For the methodology of teaching Russian as a foreign language, a literary text is a favorite teaching material. Various types of educational analysis (interpretation or interpretation) of a literary text have been developed: literary criticism, linguistic-stylistic, linguistic, linguistic-cultural, etc. As a rule, they transfer to the classroom methods of studying (researching) a literary text from the perspective of the relevant science. And this, in our opinion, ... “puts the cart before the horse.”

Since you can only study (research!) a previously understood text. Analysis, i.e. cognition of a text in the categories of a particular science is not a means of directly perceiving/understanding the text, but it can deepen existing understanding, fit the text into a broad scientific - literary or cultural - context, etc. Practice shows that in classes on the analysis of literary texts, foreign language students are more often familiar with ready-made options for interpreting literary works than analyzing the text on their own, and in an extracurricular situation, if they need to read/understand an unfamiliar literary text, they experience significant (often insurmountable) difficulties, they simply do not know - where to begin.

Thus, the goal of working with fiction texts should be formulated as follows: teaching independent understanding of texts . The set goal will determine both the principles for selecting text material and the organization of work on it, as well as the final result of educational activities.

Literary text or artistic work For further discussion, it is necessary to distinguish between two objects: artistic text and artistic (literary) work, because failure to distinguish them leads to confusion.

A literary text is, according to Yu.M. Lotman, one of the components of a work of art, far from the only one, but “an extremely essential component, without which the existence of a work of art is impossible” [Lotman 1972:24].

Let us allow ourselves a self-quote and define a literary text as: “the material embodiment of a work of fiction; its verbalized (i.e. expressed in words), recorded in written form content; the total - from the first letter of the first word to the last period (or other punctuation mark) at the end of the last page - the linguistic expression of a literary work" [Kulibina 2000: 54].

In addition to the literary text, a work of art also includes all its variants and sketches, the history of creation, known or alleged prototypes of heroes, events, etc., certain evidence of the author’s intention, authoritative critical analyzes and literary analysis of the themes and ideas of the work, various interpretations of the literary work. works (famous theatrical productions, film adaptations, etc.), etc. A work of art understood in this way does not have clearly defined contours; it can be modified, supplemented, etc. Of course, the entire amount of information that makes up a work of fiction is accessible only to specialist literary critics. And even then, in any case, the question of the completeness of known information in relation to an object - a work of art - can only be resolved relatively.

Any reader (a specialist literary critic can also play this role) first of all deals with the text of a literary work, an artistic text. And you must form your opinion about it, formulate for yourself its personal meaning based on what the author SAID in the text. Those. we can talk about the self-sufficiency of a literary text: it contains everything that is necessary for its understanding, and there is no need for additional comments of various types, explanations, reference texts, etc.

An important methodological conclusion follows from the above: the material for learning to read fiction is a literary text . This or that amount of information related to a work of art (but not included in its literary text) can be presented to students after the text is independently understood by them. Otherwise, prematurely acquired knowledge (“ready-made understanding”) will interfere with the process of semantic perception of the text1.

For a writer, a text is never complete: “a writer is always inclined to refine, complete. He knows that any detail of the text is only one of the possible implementations of a potential paradigm. Everything can be changed. For the reader, the text is a cast structure, where everything is in its - the only possible - place, everything carries meaning and nothing can be changed" ([Lotman 1999:112]; our italics - N.K.). According to Yu.M. Lotman, a literary text should be perceived, first of all, “as a message in a natural language.” This will be the basis for its further comprehension as a work of art. Based on this authoritative opinion, we consider a literary text as a communicative unit, a means of communication in a given language, however, a special means in which the language implements not only communicative, but also aesthetic functions.

Principles for selecting literary texts Based on the stated goal - teaching the understanding of literary texts, the principles for selecting text material (fiction texts!) can be formulated as follows: the literary text should be such that the potential reader, firstly, wants and, secondly, can understand him.

1. The interest of the student (potential reader) is important because it creates an internal motive for the activity, due to which the activity itself (despite the difficulties of its implementation) becomes more attractive and effective. Any teacher can give examples of how lively and interesting a lesson can become if the personal (internal) motives of students are affected. Here it is necessary to take into account the age, gender, and often national, as well as social and other characteristics of the audience. Therefore, in principle, there cannot be lists of literary texts that are required reading: what goes well with one audience may be absolutely uninteresting for another.

However, we will allow ourselves one recommendation based on many years of experience: foreign language students, as a rule, are interested in what is now relevant for Russian readers, i.e. First of all, books by contemporary authors. All our educational materials are methodological developments for lessons in RFL texts by contemporary writers [Kulibina 2001; 2004; 2008a]. The textbook “Reading Poems of Russian Poets” (2014) also includes poems by poets of the second half of the twentieth century (B. Okudzhava, N. Rubtsov, I. Brodsky, etc.)

2. The accessibility of a text for a potential reader is usually understood as the correspondence of the reader's level of language proficiency to the linguistic complexity of the text being read. In our opinion, this is true only with regard to grammar. A mandatory requirement is that the text must contain only grammar familiar to the reader.

Regarding vocabulary, this requirement is by no means unconditional, as the classic phrase of L.V. Shcherba (“Glokaya kuzdra…”) and the linguistic fairy tales of Lyudmila Petrushevskaya “Battered Pussies” convince us of. Next, we will focus on how the reader can overcome lexical difficulties when reading.

An important aspect of text accessibility is also that the reader understands the situation of the text, or, as psycholinguists say (for example, T. van Dijk), that a model of this situation, known to him based on previous life or reading experience, is presented in the reader’s mind.

Among other requirements for the text used for teaching reading fiction, it should be noted the time required to understand it, or more precisely, the time required for classroom work aimed at understanding it. The text should be such that work on it can be completed in one day’s lesson (45 minutes, 1 hour 30 minutes, etc.). Naturally, understanding the same text may require different times in different groups.

Organization of work on a literary text Traditionally, educational work on a literary text consists of three stages: pre-, pre- and post-text. Most methodologists agree on this, but each one determines in his own way at what stage, what and how should be done.

For us, the stage of textual work is a priority, because It is at this stage that the actual reading takes place, i.e. perception, understanding and experience of a literary text. If, under certain conditions (for example, lack of classroom time), the pre- and post-text stages of work can be reduced to one or two questions, or even omitted altogether or performed as homework, then text-based work must be carried out in the classroom to the fullest extent possible.

In order to present classroom work on a literary text as a system (and not an arbitrary set of randomly selected tasks), we will sequentially dwell on all stages of work: pre-, pre- and post-text.

1. Pre-text work. When working on a literary text, you should focus on the actions of a native speaker reader. Turning to our own reading experience, we cannot help but notice that the beginning of reading a book is usually preceded by a certain moment when we have a desire to read this particular book.

Consequently, the main goal of pre-text work is to make the foreign reader want to read the proposed text. One possibility is to interest the potential reader in the author's personality.

Pre-text work can be done in class or at home. Each teacher, at his own discretion, can add something of his own, something that may be of interest to his audience. In our opinion, at the stage of pre-text work you should not: - talk about the work itself, because then it is no longer interesting to read, - invite students to complete language tasks (“remove language difficulties”), because Almost all, for example, lexical difficulties can be overcome during the reading process (i.e. at the textual stage); in any case, it is worth trying to overcome them on your own (how to do this will be discussed further).

2. Text-based work. The main goal of text-based work is independent semantic perception (including experience, i.e. perception at the level of ideas) by the reader of a literary text. This goal can be achieved by modeling the processes that occur when reading fiction in the mind of a native reader.

Most of these processes in natural conditions occur subconsciously, in a reduced form; the reader sometimes does not realize on the basis of what data he comes to certain conclusions or why certain images appear in his imagination. However, if while reading a native speaker encounters any difficulty (linguistic, semantic, figurative), he tries to overcome it with the help of a linguistic guess, i.e. “launches” the reflexive mechanism using one or more (one after another) cognitive operations (strategies).

Reading a literary text by a foreign speaker is not least characterized by the fact that he much more often has a need to overcome various difficulties (which is quite natural) and, therefore, he needs developed language reflection skills (in conditions of reading in a foreign language). The situation is made easier by the fact that the mechanisms of linguistic guesswork (language reflection) are universal, and we are not talking about the formation of new skills, but about creating conditions for the positive transfer of existing ones (formed by reading in the native language).

2.1. If a literary text offered for reading has a title, it is necessary to pay attention to it: invite students to build a reading forecast, think about what a text with that title might be about. Reading is controlled by so-called anticipation, i.e. We, wittingly or unwittingly, but inevitably predict the development of events in the text; this is a pattern of mature reading. As a rule, it is impossible to fully reveal the meaning of its title before reading the text. You don’t need to do this in a lesson either; you should limit yourself to what the name itself allows you to do, i.e. its meaning, not its meaning.

A short text (for example, a short poem) can be presented to students directly in the classroom. It is advisable to invite students to read the story at home either without a dictionary, or, on the contrary, to try to cope with difficulties in the traditional way (check it in a dictionary) and see what comes of it. In any case, the text should be heard in the audience.

It is not necessary to read the entire text at once; you can present the text to students in fragments. In this case, after reading the fragment, it is discussed, guided by the teacher’s questions2. You should not ask students to read the text aloud; at this stage, such a task is ineffective: unprepared reading with many errors will not be useful and will not bring pleasure to either the one who reads or the one who listens.

The text can be read by the teacher or heard in a special educational audio recording (but not in the author's or actor's performance).

2.2. Understanding a foreign language and foreign cultural literary text is not an easy task for the reader. In order for students’ activities to be more effective, it is advisable to divide it into parts (this heuristic technique, coming from Descartes, can be very useful in this case). In our practice, the text is divided into small fragments (minimum - one sentence), relatively independent in semantic terms, on which work is carried out (in a poetic text this can be a line or stanza, in prose - one or several paragraphs).

The content of any literary text can be considered as the author's interpretation of a certain situation. The situation is one of the most important supports used by the reader when perceiving the text. The reader understands the text if he understands the situation discussed in the text.

As a rule, in a literary text it is not a static situation that is presented, but its dynamic unfolding, in other words: the general situation of the text is made up of a sequence of mini-situations (the maximum possible number of which is equal to the number of sentences in the text).

During classroom work, it is not always possible to use all the mini-situations that make up the overall situation of a literary text, for example, a story, and therefore it is necessary to make a strict selection, highlighting only the main points (semantic milestones). These must certainly include those mini-situations that reflect the main characteristics of the general situation of the text: who (subject/subjects), what is doing (event/events), where (place) and when (time).

The experience of practical educational work shows that the reader’s orientation in the characteristics of the character, the place and time of the events described, etc., as it were, “launches” the mechanism of the reader’s creative (intellectual and emotional) activity. Linguistic means of expressing the main characteristics of the situation (for example, character nominations) are the key units of the text.

2.3. Within the framework of a fragment (mini-situation), work begins with attracting students’ attention to one or another key unit of the text, because According to psychologists, the initial moment of understanding is always the awareness of misunderstanding.

2.3.1. After the attention of students in one way or another (from direct pointing to an object to more complex formulations of questions and tasks) is drawn to the key unit, it is necessary to make sure that its linguistic meaning is known to students. If an unfamiliar word is encountered, tasks guide students to independently identify its meaning, i.e. on the use of various cognitive strategies (or linguistic guesses of different types): based on the grammatical appearance of the word, on the syntactic structure of the sentence, on the composition of the word, on context, etc. 3

However, knowing only the meaning of a linguistic unit does not guarantee the reader understanding of the text, because it is important to understand its textual meaning. To clarify the meaning of a text unit in text-based tasks, the following techniques (cognitive strategies) can be used: selection of synonyms with subsequent analysis of the differences in their meanings, reliance on artistic context, involvement of background knowledge, as well as common sense, etc. 4

These two stages (understanding meaning and meaning) constitute a single conceptual level of understanding the text, the achievement of which is sufficient when working on any non-fiction text.

2.3.2. The perception of a literary text will be incomplete if the conceptual level is not supplemented by perception at the level of ideas.

In the process of reading, units of a literary text - verbal images - are transformed in the reader’s mind into reader’s representations, which can be visual, auditory, emotional, etc. Thanks to representations, the reader’s projection of the text acquires flesh and blood, becoming not a dead imprint, but a living, dynamic picture.

Each reader has his own methods of recreating the reader’s ideas, characteristic of his style of perception, so the task of the teacher at this stage is not so much to teach new things, but to awaken the reader’s creative activity, to intensify his own creative activity. This goal can be achieved by tasks that invite the foreign reader to imagine what he is reading about and to describe the images and ideas that arise in the imagination.

Such work encourages the reader to emotionally experience the images of the text and further to aesthetic emotions, which lay the foundations for the aesthetic perception of a literary text. Special tasks aimed at the reader’s perception of a literary text as a work of art are not required.

Thus, work on each key unit is based on a single algorithm: from linguistic meaning to textual meaning and reader’s understanding. The sequence of work on key units is dictated by the text itself, i.e. depends on the order in which they appear before the reader (from the first fragment/mini-situation to the last).

It is desirable that after working on each fragment/mini-situation of a literary text, students are given the opportunity to listen to it (in a recording or reading by the teacher).

2.4. After finishing working on the text in fragments/mini-situations, it is advisable to read the text in its entirety again and/or listen to its full sound recording. It is advisable to use questions for the entire text, asking students to comprehend everything they have read, draw conclusions, evaluate, etc., as homework (written or oral), because To carry out these cognitive operations, the reader (even a native speaker, and even more so a foreign speaker) needs a certain amount of time.

3. Post-text work. This stage of classroom work, but in our opinion, is optional, because if the textual work was carried out correctly, then “the influence of the read work on the reader’s personality” (O.I. Nikiforova) occurs regardless of whether the appropriate instructions are given or not, otherwise all the “controlling” tasks will not give the desired effect.

And yet, post-text work can be carried out either in the classroom or at home.

At this stage, students are offered generalizing tasks so that they can express their understanding of what they read, their own opinion about the text, as well as tasks that suggest connecting, for example, statements (opinions, ideas, etc.) of the author in the interview they read (pre-text work) with how it is implemented (or reflected, etc.) in a literary text, etc.

Students can get acquainted with additional texts that allow them to develop or deepen the topic, or get to know the author better, etc.

At this stage, it is possible to use educational and professional translation, any forms of visualization and other techniques and means that the teacher deems appropriate and useful.

The result of the reader's activity Thanks to both conscious efforts and unconscious actions of the reader, the totality of text meanings (i.e. the meanings of key units of the text) and reader ideas, as well as connections between them, extracted by the reader from the text, turns into a certain system, the core of which can be comprehended and expressed as the meaning of the literary text read, personal meaning is the result of the activity of a particular reader.

As practice shows, the described technique can be used by any foreign audience interested in fiction in Russian. Individualization of the educational process is achieved by selecting texts, poetic and prose, that correspond to certain (age, national, professional, etc.) characteristics of the audience.

No preliminary familiarization of students with the “rules of the game” is required: when working on a text (which a foreign reader perceives as a “simple” discussion of what they read, thinking about what, how and why it is said), the teacher, formulating tasks, can easily make do with the known students with language and speech material.

Lessons using the proposed methodology can 1) be included in the language educational process (the “Speech Development/Practice” aspect) as needed (once a month or with another degree of regularity, as well as from time to time, for example, as a “gift” for a holiday - “Christmas” by I. Brodsky); 2) form a cycle, for example, as part of the course “Reading Fiction”. With sufficiently long training, students develop and improve the skills of independent reading of texts (and not only literary ones).

Now let's look at a practical example. Let's take one of the textbook poems by A.A. Blok.

1 Night, street, lantern, pharmacy, 2 Meaningless and dim light. 3 Live for at least another quarter of a century - 4 Everything will be like this. There is no outcome. 5 If you die, you’ll start over again, 6 And everything will repeat itself as before: 7 Night, the icy ripples of the canal, 8 Pharmacy, street, lantern. October 10, 1912

Understanding this poem (like any other literary text) involves answering the following questions:

Who is the text talking about? Who is his hero/heroes? What is he/they doing? What event/events are/are being described? Where is it all happening? When?

But it is not enough to simply find words in the text that answer these questions. You have to think: why is it said this way and not otherwise?

The order of work on this poem can be as follows5 (omitting the pre-text stage, we will focus on the pre-text work).

Teacher: - Read the first two lines of the poem. Find in them answers to the questions: when and where does the event described in the poem take place?

Possible student answers6: - Night. - City (street).

Teacher: - Why do you think the lantern and the pharmacy are mentioned?

Possible answers: - The lamp may be on. — The pharmacy sign is on. — Light in the pharmacy window. There - on the window - it says pharmacy.

Teacher: - What kind of light do you think is spoken about in the second line?

Possible answers: - This is the light of a lantern. — Pharmacy window light.

Teacher: - Why do you think the light is called meaningless and dim7?

Possible answers: - There is no one on the street. It is unclear for whom it shines. — The light is weak. Unpleasant. - Nobody. There's no point in shining. - Pointless consumption of electricity.

Teacher: - Who do you think sees and describes this picture: Night, street, pharmacy...?

Possible answers: - Author. - Poet. - Human.

Teacher: - Can we understand his condition, what he feels, what is in his soul?

Possible answers: - He doesn't sleep even though it's night. - He feels bad, sad, that’s why he doesn’t sleep. - Something happened, and now there is no point...

Teacher: - Read the third and fourth lines of the poem. How do you understand them? Who is the poet talking about? How - in other words - can the meaning of the third line be conveyed? Is the expression Exodus no clear?

Possible answers: - You live... - If you live another 25 years. - This is a generalization: if you live another quarter of a century... The poet speaks about himself and any person. — If nothing changes in life, it’s bad. - No matter what you do, you won’t change anything. - Exodus, maybe this is the way out? No exit. - He feels very bad... And scared.

Teacher: - Read the fifth and sixth lines. How can you understand them?

Possible answers: - If you die, will you start all over again? Unclear! - Maybe he thinks that death will not change anything? - Death won't help. - He feels very bad. - He suffers... - And no one can help him. 8

Teacher: - Read the poem to the end. Notice that the last lines almost repeat the first two. What new does the reader learn and what conclusions can he draw?

Possible answers: - New information ice ripple channel. Cold. - This is winter. - No, autumn. The poem was written on October 10. - Ripple means the wind is blowing. Cold wind. — There is a canal in this city. Maybe this is St. Petersburg. — Or Venice? - If Blok, then Petersburg!

Teacher: - Why do you think the poet begins and ends the poem almost the same? Possible answers - There is no outcome. - Nothing can be changed. - The circle is closed.

Teacher: - Read the poem in its entirety. How do you imagine his character? Where is he located?

Possible answers: - He looks like Blok. - This is a man. Poet. - He's not on the street. - He is in the room. Standing at the window. - Looking out the window. He sees an empty dark street at night... - The lantern sways in the wind. - It's dark in the room. He is alone. - He's lonely.

Teacher: - What do you think this poem is about?

Possible answers - About a lonely person. - About loneliness. - About longing.

What can you call this work on the text of a poem? Linguistic analysis? Yes and no. Yes, because we parsed words, sentences, i.e. linguistic units. No, because the main thing was not the linguistic meanings of these units, but those meanings that arise on their basis in this artistic text, i.e. we are dealing with text units. We also talked about those ideas and images that arise in the reader’s mind when reading this poem by Alexander Blok. So, maybe this is literary analysis? But we did not use literary terminology and, perhaps, our analysis will seem amateurish to a literary scholar.

The main objective of the methodology we propose is for students to master the skills of independent work on text, learn to effectively use the necessary cognitive strategies at all levels of perception of a literary text, and thereby gain “open access” to everything that has been created, is being created and will be created by writers and poets in Russian

What are the specifics of the proposed approach? For us , the text was the original reality . We approached it from a single philological position (simultaneously the point of view of language and literature) and were focused on the reality of the entire text . Our efforts were aimed at realizing the possibilities of human understanding .

Philology - the art of understanding what is said and written, or the service of understanding - helped us fulfill one of the main human tasks - to understand another ... (the highlighted words belong to S.S. Averintsev [Averintsev 1990: 545]). Thus, we can say that the methodology we propose for teaching reading fiction implements a philological approach to literary text.

Literature:

Averintsev 1990 - Averintsev S.S. Article Philology // Linguistic encyclopedic dictionary. M., 1990. Kulibina 2000 - Kulibina N.V. Literary text in linguodidactic comprehension. - M., State. IRE, 2000. Kulibina 2001 – Kulibina N.V. Why, what and how to read in class. – St. Petersburg, Zlatoust, 2001. Kulibina 2004 Kulibina N.V. Written by women. A reading guide for students of Russian as a foreign language. – M., Russian language. Courses, 2004 Kulibina 2008- Kulibina N.V. We read Russian in class and at home. Book for the student. - Riga, RETORIKA-A. 2008. Kulibina 2008a Kulibina N.V. Reading in Russian in Russian language lessons. Book for teachers. - Riga RETORIKA-A. 2008. Kulibina 2014 - Kulibina N.V. We read poems by Russian poets. Textbook for students of Russian as a foreign language (7th edition) - St. Petersburg, Zlatoust, 2014. Lotman 1972 - Lotman Yu.M. Analysis of poetic text: Structure of verse. - M., 1972 Lotman 1998 - Lotman Yu.M. Inside thinking worlds. Man – text – semiosphere – history. - M., Languages of Russian Culture, 1999.

Author: Natalya Vladimirovna Kulibina,

Dr. ped. Sciences, Professor of the State Institute of Russian Language named after. A.S. Pushkin.

Moscow, Russia

1 Similar to how uninteresting and even pointless it becomes to read a detective story if you already know who the criminal is.

2 See educational materials in [Kulibina 2001; 2004; 2008a; 2014].

3 For more information about cognitive strategies, see [Kulibina 2000; 2001; 2008a].

4 For more details, see ibid.

5 Before reading a poem, students should not be told anything about its content so that they have the opportunity to draw their own conclusions.

6 Here and below, under the heading “Possible student answers” (hereinafter referred to as “Possible answers”), real student answers recorded in lessons are used. In some cases, the answers received in different groups are shown side by side; this is done to make the students’ train of thought more clear, because not always every stage of reasoning is verbalized, i.e. formalized by the participants in the discussion as a speech utterance

7 If there are doubts that students know the lexical meanings of the words meaningless and dull, you can invite students to use one of the cognitive strategies [Kulibina 2001] to establish the meaning of an unclear word. In the first case, this is a reliance on the composition of the word, on the known prefix bes- and the root meaning-, which allows one to draw a conclusion about the meaning of the entire word, and in the second, on the reader’s extralinguistic knowledge of what the light of a lonely lantern on a dark street is like, as one might call its (dull, weak, etc.)

8 We believe that students should not be required to provide a deeper interpretation of these lines; it is enough if they understand the state of the lyrical hero of the poem (the poet himself?) and sympathize with him.

Fiction as a basic component of social and moral education

One of the basic components in the education and formation of personality is fiction, which acts as a source of moral and aesthetic standards, a translator of the traditions of society and its culture. Performing a cognitive function, fiction broadens the horizons of readers of all ages, shapes artistic taste, and provides emotional experience.

Finished works on a similar topic

Coursework Goals and objectives of fiction in a preschool educational institution 480 ₽ Abstract Goals and objectives of fiction in a preschool educational institution 270 ₽ Examination Goals and objectives of fiction in a preschool educational institution 200 ₽

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In the process of becoming acquainted with fiction in preschool age, the child learns about such moral categories as goodness, conscience, justice, honor, sympathy, compassion, duty, courage. Moral education is not achieved by talking to children about morality and virtue. The task of fiction is that when reading it, make children experience the moral moods, actions and feelings of the heroes of the work. And if these moral and emotional states are experienced in the child’s imagination, then the educational goal will be achieved.

Note 1

Fiction is an effective means of developing the moral qualities of an individual.

While reading, the child gets to know the life around him, nature, gets acquainted with the work of people, with his peers, with their joys and failures, experiences and feelings. The literary word has an impact not only on the child’s consciousness, but also on his feelings and actions.

Reading fiction provides an opportunity to compensate for the lack of communication in children, allows them to broaden their horizons and enrich their moral experience. In the process of reading, children develop an emotional relationship to the events described in the work, to the heroes of this work, and also form an attitude towards nature and the people around them.

Works of art always contain some kind of assessment of events. At the same time, in the process of solving the problem of educating moral qualities, it is necessary to use both classical literary works and modern ones.

Works of art open up children to the world of human feelings, arouse interest in personality, in the inner world of a literary character. And having learned to empathize with the characters of works of art, children begin to be more attentive to the people around them, they begin to notice their mood, the mood of loved ones. Then humane feelings begin to awaken, children show the ability to show care and kindness, a desire for justice arises and a protest against unfair treatment of someone.

Thus, reading fiction in a preschool educational institution performs the following tasks:

Forming in children the idea that books contain a lot of interesting and educational information
Deepening knowledge about illustrations and their meaning in the book
Formation of the skill of moral evaluation of a work
Developing the ability to empathize with heroes

Once again about the purposes of reading

Hello dear readers of the Reading Technologies blog!

In a previous article, “How to Read 10 Times Faster,” I talked about the need to set reading goals.

Many may have a question: what could be the purpose of reading ?

We'll talk about this below.

Purposes of reading fiction

We read fiction for pleasure .

Can this be considered a goal?

To some extent it is possible if we are able to evaluate the result - whether pleasure was received or not. But in this case, the goal is poorly defined and not specific .

The more specific the goal is, the more effective the reading. For example, a specific goal: from the weather report, find out the forecast for tomorrow. Or from a book - find out the age of the main character.

The goal of remembering the content may not be there. The task is to immerse yourself in the plot and enjoy the reading process itself.

If we know exactly what it means to enjoy reading, then of course this can be the goal. And after reading, we will be able to check whether the goal has been achieved or not.

Artistic experience

Are you familiar with the artistic experience?

We can grasp the logic of the plot – it’s not difficult. But the artistic word is not only logic, it carries not only verbal meaning. This is primarily a figurative meaning. And in a work of art there are many of these images.

So, in order to receive an aesthetic impact from a work of art, it is necessary to develop visual or figurative components of thinking. What is called visual thinking.

Do you have a vivid imagery of perception, i.e. the ability to generate “cinema from images” ? Such an ability that reading turns into a fascinating film consisting of images.

By the way, it is figurative perception that allows you to increase the speed of reading fiction books.

Those readers who skip descriptions of nature, setting, appearance, etc. – and they look in the text only for the logic of the development of events, and lose this imagery. For such readers, the writer's diversion from the main plot seems unnecessary and these passages are usually skipped.

What kind of aesthetic impact and artistic experience is there? So, the plot is clear and that's enough.

Thus, to enjoy reading is something you also need to learn. At least developing the imagery of perception.

*****

At the same time, a fiction book is one of the forms of art.

“The task of art is to give an aesthetic and moral assessment of all significant phenomena of life, including negative ones, in order to help a person understand himself, raise faith in himself and develop the desire for truth, fight vulgarity, be able to find the good in people, excite in their souls shame, anger, courage, to do everything so that people become noble, strong, and can spiritualize their lives with the holy spirit of beauty.” M. Gorky.

Those. The result of reading, in addition to the pleasure of the reading process itself, may be a better understanding of oneself and what is happening around. Those. development of oneself as a person.

You can understand the psychology and logic of actions through your own experience, but you can also through reading good books. And of course, through subsequent reflection, in a scientific way - reflection.

How are you with reflection?

It's worth thinking about, isn't it?

*****

But reading fiction is not always just for pleasure. For example, students study literature in order to properly evaluate a work. And here only imaginative thinking is not enough. Here you need your own reading algorithm.

about this algorithm - a deep study of the work - in a series of previous articles using the example of Griboyedov's comedy "Woe from Wit" . Those readers who have mastered these articles, I am sure, remember the plot, details and meanings. The beginning of the series of articles is here.

Of course, not all works require such deep study, but the most outstanding ones.

You can learn a little more about such great books in my article “Great Books. What kind of books are these? And why is it important to study them?

***** So, the goals of reading fiction can be:

1. Receiving aesthetic pleasure.

2. Expanding your horizons, experience, deepening your worldview, thoughts, feelings.

Obtaining answers to pressing questions regarding relationships between people and current events. Everything that is not always possible to obtain only from your own experience.

And here it is appropriate to quote the statement: “ I saw further than others only because I stood on the shoulders of giants ” - these words belong to Isaac Newton (Letter to Robert Hooke, 1676).

3. Deep study of the work. The goals here can be both local - to remember the main ideas for an exam, test, and more global - to understand the author and the meanings that he put into the work.

*****

In general, these goals are aesthetic, ideological and educational.

Of course, this is not the end of reading fiction, but you have to start somewhere.

That's all for now.

In this article, I used the questioning method to pause for reflection. In fact, these questions should arise in the reader's mind. I wrote about this method here.

In the next article, we will look at the purposes of reading nonfiction and the levels of information retrieval during this reading.

If you have any questions, please write in the comments.

Best regards, Nikolay Medvedev.

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To My World

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To help parents

LIST OF WORKS OF FICTION FOR READING TO CHILDREN (5-6 YEARS OLD) ON LEXICAL TOPICS

Theme: Autumn (periods of autumn, autumn months, trees in autumn)

And Tokmakov “Trees”.
K. Ushinsky “Tree dispute”.
A. Pleshcheev “Spruce”.
A. Fet “Autumn”.
G. Skrebitsky “Autumn”.
K. Ushinsky “Four Wishes.”
A. Pushkin “Autumn”.
A. Tolstoy “Autumn”.

M. Prishvin “Fox Bread”
Yu. Krutorogov “rain of seeds”.
L.Kon from “Book of Plants” (“Wheat”, “Rye”).
I Dyagutite “Human Hands” (from the book “Rye Sings”.
M. Glinskaya “Bread”
Ukr.s.s. "Spikelet".
Ya. Tayts “Everything is here.”

Topic: Vegetables, fruits

L. N. Tolstoy “The Old Man and the Apple Trees”, “The Bone”
A.S. Pushkin “...It is full of ripe juice...”
M. Isakovsky “Cherry”
Y. Tuvim “Vegetables”
Folk tale adapted by K. Ushinsky “Tops and Roots.”
N. Nosov “Cucumbers”, “About turnips”, “Gardeners”.

Topic: Mushrooms, berries

E. Trutneva “Mushrooms”
V. Kataev “Mushrooms”
A. Prokofiev “Borovik”
Ya. Taits “About berries.”

Topic: Migratory and waterfowl

R.s.s. "Swan geese"
V. Bianchi “forest houses”, “Rooks”.
A. Maykov “Swallow”
D.N. Mamin-Sibiryak “Gray Neck”
L.N. Tolstoy "Swans"
G.H. Andersen "The Ugly Duckling".
A.N. Tolstoy "Zheltukhin".

Topic: Our city. My street.

Z. Alexandrova “Motherland”
S. Mikhalkov “My Street”.
Song by Yu. Antonov “There are central streets...”
S. Baruzdin “The country where we live.”

Theme: Autumn clothes, shoes, hats

K. Ushinsky “How a shirt grew in a field.”
Z. Aleksandrova “Sarafan”.
S. Mikhalkov “What do you have?”

Topic: Domestic animals and their babies.

E. Charushin “What kind of animal?”
G. Oster “A Kitten Named Woof.”
L.N. Tolstoy “The Lion and the Dog”, “Kitten”.
Br. Grimm "The Town Musicians of Bremen".
R.s.s. "The wolf and the seven Young goats".

Topic: Wild animals and their young.

A.K. Tolstoy "The Squirrel and the Wolf".
R.s.s. "Zayushkina's hut"
G. Snegirev “Trace of the Deer”
r.n.s. "Bragging Hare"
I. Sokolov - Mikitov “A Year in the Forest” (chapter: “Squirrel”, “Bear Family”.
R.s.s. "Winter quarters".

Topic: Late autumn. Pre-winter

A.S. Pushkin “The sky was already breathing in autumn”
D.M. Siberian "Grey Neck"
V.M. Garshin "Frog - Traveler".
A. S. Pushkin “Winter. The peasant is triumphant..."
S.A. Yesenia “Birch”, “Winter Sings and Sounds”.
I.S. Nikitin "Meeting of Winter"

Topic: Winter. Wintering birds

N. Nosov “On the Hill”
K. D. Uschinsky “The Mischief of the Old Woman of Winter”
G.H. Andersen "The Snow Queen"
V. Bianchi “Sinichkin calendar”.
V. Dahl “The Old Man is a Year Old.”
M. Gorky “Sparrow”
L.N. Tolstoy "Bird"
Nenets folk tale “Cuckoo”
S. Mikhalkov “Finch”.

Topic: Library. Books.

S. Marshak “How was the book printed?”
V. Mayakovsky “This little book of mine is about the seas and about the lighthouse.”
"What is good and what is bad".

Topic: Transport. Traffic Laws.

S. Ya. Marshak “Luggage”.
Leila Berg "Stories about a small car."
S. Sakharnov “The best steamship.”
N. Sakonskaya “song about the metro”
M. Ilyin, E. Segal “Cars on our street”
N. Kalinina “How the guys crossed the street.”

Topic: New Year. Winter fun.

S. Marshak “Twelve months”.
All year round (December)
R.n. With. "Snow Maiden"
E. Trutneva “Happy New Year!”
L. Voronkova “Tanya chooses a Christmas tree.”
N. Nosov “Dreamers”.
F. Gubin “Gorka”.
V. Odoevsky “Frost Ivanovich”.

Topic: Animals of hot countries. Animals of cold countries.

B. Zakhoder “Turtle”.
Tajik fairy tale "Tiger and Fox"
K. Chukovsky “Turtle”
D.R. Kipling stories from The Jungle Book
B. Zhitkov “About an elephant.”
N. Sladkov “In the Ice”.

Topic: My family. Human.

G. Brailovskaya “Our mothers, our fathers.”
V. Oseeva “Just an old lady.”
I Segel "How I was a mother."
P. Voronko “Help Boy”
D. Gabe “My Family”.

Topic: House and its parts. Furniture.

Y. Tuvim “Table”.
S. Marshak “Where did the table come from?”
V. Mayakovsky “Who to be?2.
A fairy tale adapted by A. Tolstoy “Three Fat Men”.

A.S. Pushkin “The Tale of the Fisherman and the Fish.”
N. Nosov “Karasik”
R.s.s. “At the behest of the pike”, “Little fox-sister and the gray wolf”.
G.-H. Andersen "The Little Mermaid".
E. Permyak “The First Fish”.

Topic: Toys. Russian folk toy.

B. Zhitkov “What I saw.”
With Marshak "Ball"
A. Barto “Rope”, “Toys”.
V. Kataev “Flower - seven flowers”
E. Serova “Bad Story.”

J. Rodari “What color are crafts?”
“What do crafts smell like?”
I'm Akim "Neumeyka".
A. Shibarev “Mailbox”.

Topic: Defenders of the Fatherland. Military professions.

O. Vysotskaya “My brother went to the border”, “At the TV”.
A. Tvardovsky “The Tankman’s Tale.”
Z. Aleksandrova “Watch”.

Topic: Houseplants.

V. Kataev “Seven-flowered flower”
S.T. Aksakov “The Scarlet Flower”.
G.-H. Andersen "Thumbelina".

Topic: Early spring. March 8.

M. Homeland of “mother’s hands.”
E. Blaginina “Mom’s Day”, “Let’s Sit in Silence”.
J. Rodari “What do crafts smell like?”
E. Permyak “Mom’s work”
V. Sukhomlinsky “My mother smells like bread.”
L. Kvitko “Grandma’s hands.”
S. Mikhalkov “What do you have?”
N. Nekrasov “Grandfather Mazai and the Hares.”
I. Tyutchev “Winter is angry for a reason”
S. Marshak “All Year Round”
G. Skrebitsky “April”.
V. Bianchi “Three Springs”.

S. Marshak “Mail”.
J. Rodari “What color are crafts?”
“What do crafts smell like?”
I'm Akim "Neumeyka".
A. Shibarev “Mailbox”.

Topic: Construction. Professions, machines and mechanisms.

S. Baruzdin “Who built this house?”
V. Mayakovsky “Who to be?”, “Construction”.
M. Pozharova “Painters”
G. Lyushnin “Builders”
E. Permyak “Mom’s work.”

A. Gaidar “Blue Cup”.
K. Chukovsky “Fedorino’s grief”, “Fly-Tsokotukha”
Br. Grimm "Pot of Porridge".
R.s.s. "Fox and Crane"

Topic: Space. Cosmonautics Day.

A. Barto “Rope”.
S.Ya. Marshak "The Story of an Unknown Hero."
Yu.A. Gagarin “I see the earth.”

M. Prishvin “Fox Bread”
Yu. Krutorogov “rain of seeds”.
L.Kon from “Book of Plants” (“Wheat”, “Rye”).
I Dyagutite “Human Hands” (from the book “Rye Sings”.
M. Glinskaya “Bread”
Ukr.s.s. "Spikelet".
Ya. Tayts “Everything is here.”

V. Bianchi “The Adventure of an Ant.”
I.A. Krylov "Dragonfly and Ant".
K. Ushinsky “Cabbage Girl”
Y. Arakcheev “A story about a green country.”

Topic: Food.

I. Tokmakova “Porridge”
Z. Aleksandrova “Delicious porridge.”
E. Moshkovskaya “Masha and porridge”
M. Plyatskovsky “Who likes what.”
V. Oseeva “Cookies”.
R.s.s. "A pot of porridge."

Topic: Victory Day.

S. Alekseev “First night ram”, “Home”
M Isakovsky “A Red Army soldier is buried here.”
A. Tvardovsky “The Tankman’s Tale.”
A. Mityaev “Bag of Oatmeal”.
M. Isakovsky “Remember forever.”
S. Baruzdin “Glory”.
K. Simonov “Son of an Artilleryman.”

Topic: Our Motherland Russia. Moscow is capital of Russia.

A. Prokofiev “Motherland”.
Z. Aleksandrova “Motherland”.
M.Yu. Lermontov "Motherland"
S. Baruzdin “For the Motherland.”

Topic: Flowers bloom (in the park, in the forest, in the steppe)

E. Blaginina “Dandelion”.
A.K. Tolstoy "Bells".
V. Kataev “Seven-flowered flower.”

Topic: Summer, summer clothes, shoes, hats.

K. Ushinsky “Four Wishes.”
A. Pleshcheev “Old Man”
E. Blaginina “Dandelion”.
Z. Aleksandrova “Sarafan”.