1) The principle of purposefulness(41, 114, 179, etc.).

This principle, firstly, determines the final goal of the analysis of the work - the mastery of the artistic idea by schoolchildren - and makes it possible to prioritize the educational goals of the lesson: the main goal of each literature lesson is to master the artistic idea of ​​the studied work. Proceeding from this goal, the teacher determines the choice of means to achieve it, that is, decides what literary knowledge and to what extent students will need, what observations of the specifics of this work need to be done in the lesson, what methods of text analysis will be effective, what kind of work on the development of speech and improving reading skills is appropriate.

Secondly, the principle of expediency assumes that each question or task of the teacher is a step on the way of mastering the idea, a necessary link in the general logical chain of analysis, they pursue a certain private goal: they activate knowledge, form a certain skill.

In the traditional method of primary education, the term "artistic idea" was replaced by the term "main idea", which was probably considered more understandable for students. In fact, there was not just a replacement of terms, but a substitution of concepts, which was clearly manifested in last years when the "ban" from the word "idea" is removed. So, for example, in the manual "Russian language in primary grades“we read:“ We need to remember that the meaning of the work is not in separate images, but in the system, in their interaction. ”It is quite possible to agree with this judgment, but the author immediately writes:“ Awareness of the idea of ​​a work is an understanding of the main idea of ​​the author, for the sake of which he created his creation. ”(175, p. 328) This definition is no longer addressed to the student, but to the teacher, who also forms a distorted idea of ​​the artistic idea of ​​the work, supposedly equal to the“ main idea of ​​the author. ”On the same page we read : “Revealing the author’s position does not need to be done when analyzing each text, but only when the teacher feels the need for a deeper awareness of the author’s idea by children.” (175, p. 328) Therefore, according to the author, “a less deep awareness of the idea” is quite possible Thus, even in the case when the list of lesson tasks contains a formulation about understanding the idea of ​​the work, in most cases it turns out that the teacher leads the children to the same By means of highlighting the "main idea" arising from the analysis of the life situation depicted in the work.

The priority of the educational goals of a reading lesson also does not always correspond to the principle under consideration. “When developing lesson plans, the main emphasis should be placed on understanding, awareness by children of what they are reading, because understanding and awareness are the main, leading sides in children’s mastering the reading skill,” the authors write. educational books for reading "Our Russian word"(36, p. 3). As can be seen from the quotation, mastering the artistic idea of ​​a work is replaced by comprehension of what has been read, while comprehension is considered as one of quality characteristics reading skill. Thus, as was the case with traditional teaching, the formation of reading skills acts as the main goal of the lesson. Consequently, the principle of purposefulness is not followed in practice. primary school.

2) The principle of reliance on a holistic, direct, emotional perception of the read(14, 114, 117, 137, 177, etc.).

The child's interest in analyzing the work, the entire course of work in the lesson largely depends on how the reader perceives the work. The principle of direct, emotional, holistic perception of the work is associated with the organization of the primary perception of the text.

Psychologists have repeatedly emphasized that some age-related deficiencies in the perception of a work of art are overcome by younger students due to increased emotionality (6), therefore, in elementary school, it is especially important to create the necessary emotional atmosphere for the initial acquaintance with the work. Unlike high school, where students get acquainted with the text most often at home, on their own, in elementary school, primary perception is almost always carried out in the classroom, and the teacher has the opportunity to create conditions for the most adequate perception of the work. The degree of understanding of the text by primary schoolchildren depends on who and how read the work (139, 149, 184). The easiest way is to understand the text if it is perceived from the voice (heard), the most difficult - when reading "to oneself". Of course, the level of perception depends on the degree of expressiveness of the reading of the text, on the interpretation of the work by the reader. Therefore, it is advisable for children to hear the work performed by the teacher for the first time. The primary reading of the teacher is supported by many methodologists, but often the meaning of this reading is different: “The teacher should not be embarrassed by the fact that the textbook contains rather difficult-to-read texts ... , teacher's, reading, helping oneself with a finger or a pen, ... and in an undertone to echo the teacher, or even slightly ahead of him "(36, p. 7). The primary reading "chain" is actively promoted by modern guidelines (36, p. 149). It is obvious that in both cases it is not only impossible to perceive the work as aesthetic value, but it is generally difficult to understand the actual content of the text.

The aesthetic approach to literature and the principle of holistic perception of the work require that the text be presented to the child completely, without adaptation, since the analysis is based on establishing connections between individual details of the text and the whole - an artistic idea, and mastering the idea of ​​a work when familiarizing with only a fragment from it is impossible. In recent years, the reading circle of children has changed and the volume of the studied works has significantly increased, which does not always allow reading the text completely in the lesson. But in this case, it is advisable to start analyzing the text after the children independently finish reading the work at home.

Another methodological requirement arising from the principle under consideration is that reading should not be preceded by any tasks in the text of the work, so as not to interfere with the immediacy of children's perception, because any teacher's question will set a certain "focus" of consideration, reduce emotionality, and narrow the possibilities of influence. inherent in the work itself. However, in a number of modern textbooks, built on the principle of a conversation with a “young friend,” a “novice reader,” primary perception is systematically preceded by assignments. For example: "Reading the poem [" The Story of Vlas, the Lazy Bummer and the Loafers "by V.V. Mayakovsky - M.V.], try to trace how Vlas went to school" (35, p. 187). V in this case the child's attention is directed to the layer of facts, outside of their comprehension and evaluation. Another example: “Read the poem by KI Chukovsky [“ Joy ”- MV], think about why the poet gave him such a name” (35, p. 224). The task activates thinking student, while full perception of this poem First of all, it contributes to the surprise caused by unexpected transformations, joyful empathy, a surge in the work of the imagination. The question of the textbook interferes with direct perception, reduces and simplifies the emotional reaction that Chukovsky's poem evokes, perceived by children without guiding tasks.

Sometimes the desire to prepare children for the perception of a work turns into the creation of an anti-aesthetic attitude. So, for example, before getting acquainted with the story of A.P. Chekhov "Vanka", children are invited to read an excerpt (last paragraph) from Vanka Zhukov's letter, and then a series of questions and a learning task follow: "What do you think, when and by whom this letter was written ? What can you learn about the boy from this part of the letter? What feelings does what Vanka wrote in you? To get to know this boy better, read the whole story ”(79, p. 159). As follows from the wording, the meaning of reading is acquaintance with boy, i.e. reading beautiful fiction story boils down to expanding household experience schoolchildren: they learn about the plight of one boy and sympathize with him. This has nothing to do with aesthetic perception, since the attention of children, even before reading, is aimed at comprehending the actual details of the text outside of their image and the author's assessment. "Analysis" of the work after reading is also based on the selection and detailed reproduction of specific events. True, in the last - the twelfth and thirteenth - questions of the anthology, it suddenly comes to Chekhov: “Why did Chekhov call Vanka’s letter“ precious ”? How does the author feel about his hero? Confirm with words from the text. " (79, p. 164). The appeal to the author at the end of “working with the text” is formal and can no longer “break” the established attitude towards everyday perception of the story.

3) The principle of taking into account age-related and individual characteristics of perception.(14, 41, 61, 114, 117).

In the works of V.G. Marantzman has convincingly proved that the student's perception is the same important component of the analysis as the text of the work (117, 119, etc.). Specific age-specific features of perception literary work discussed in detail earlier. Of course, knowledge of the specifics of younger students as readers helps to plan the course of analysis, but it does not relieve the teacher from the need to check how the studied work was perceived by his students. Checking the primary perception at the beginning of the lesson allows you to correctly determine the direction of analysis, to create an attitude towards secondary reading of the text, based on the impression of what you read. The principle of taking into account children's perception should be considered in line with the idea of ​​developing education. It is advisable to analyze the work, relying on the zone of proximal development of the child, pushing the boundaries of what is available. The analysis should be difficult for the child: only overcoming difficulties leads to development.

We meet a different position in one of the teaching aids: “If, for some reason, the teacher finds this or that text difficult, he may not subject it to analysis, analytical consideration, and the main type of work is to make repeated reading of the entire work, first the teacher's, and then "alternate" discipleship, when one student reads, while others follow his reading through their books ”(36, p. 7). One cannot agree with this position, since the teacher leaves the student without help at the very moment when the young reader needs guidance. Following this advice will again lead to the use of a work of art only to train reading techniques, to the formation of an attitude towards superficial perception.

4) The principle of creating an installation for the analysis of a work (41, 114, 117,179, 209).

The analysis of the text should meet the child's need to understand what he was reading, but one of the specific features of younger students as readers is that they do not have the need to analyze and re-read the text. Children are sure that after the first acquaintance with the work, they "understood everything", because they do not even suspect about the possibility of a deeper reading. But it is precisely the contradiction between the actual level of perception and the potential of the meaning of a work of art that is the source literary development... Consequently, the teacher must necessarily awaken in the young reader the need to re-read and think over the text, to captivate him with analytical work.

It is very important that the student accepts the educational task set by the teacher, and then learns to set it himself.

Despite the fact that the presence of an educational task is a general didactic requirement for a lesson, the corresponding stage of a reading lesson is far from always distinguished by methodologists. For example, in the textbook for students "Russian language in primary grades", when describing the structure of a reading lesson, the stage of setting an educational problem is not highlighted (175, p. 338.). Recently, in the work of primary education specialists, the possibility of using elements of problem analysis has begun to be recognized, but the emphasis is on the analysis process, and not on setting up the installation. It is emphasized that, “taking into account the naive realism of the readers, problem situation it is necessary to build on the basis of the eventual basis of the work, on moral collisions ”(175, p. 324). Thus, in the center of attention of the students will again be only a layer of facts, a real life case will be discussed, and not a work of fiction, which will lead to the strengthening of the naive-realistic position of the reader.

In the practice of elementary school, the educational task of the lesson is often associated with the acquisition of literary knowledge and practical skills by the student, and the process of comprehending a work is interpreted as a means of solving such a problem. For example, a lesson on the topic: “Accent proof reading of a lyric text. Review of Sergei Yesenin's poem "The fields are squeezed, the groves are bare ..." "begins with setting the following educational task for the students:" Today we will again learn to write a review about the poem. What is the main thing in a poem that the reader should read in order to write a good review? " (83, p. 219). In a number of teaching aids, the educational task is not at all set for children (36, 161).

Meanwhile, it is in the elementary school age that the acceptance of the educational task is especially important. Small children cannot engage in one type of activity for a long time, it is difficult for them to follow the development of thought throughout the lesson, they are often distracted, they do not know how to listen to each other. It is no coincidence that experienced primary school teachers always repeat the student's answer, not even always supplementing or reformulating it, because they know that children perceive the teacher's words, but not a fellow student's. Observations of children in reading lessons show that they willingly raise their hands, answer the teacher's questions, but this activity is external: the fact of the answer itself is important for the child, and not the content of what is said. If the teacher repeats his question, then the next students will repeat the answers of their comrades. If a learning task is not set for the students, then the reading lesson breaks up for them into separate, unrelated questions and tasks. The child is then connected to the general conversation, then distracted from it, losing the core of reasoning. In this case, the purposefulness of the analysis exists only in the mind of the teacher.

It is very important to pay attention to the place of the learning problem in the lesson structure. It is advisable to create a mindset for analysis only after reading and identifying the primary perception of the work. The learning task set before reading can distort the perception of the text, as mentioned earlier. If the task is set immediately after reading, without identifying the children's perceptions, you can waste the lesson, working on what is already clear to everyone, and leaving children's questions unclaimed.

1) The principle of the need for a secondary independent reading of the work.

This principle is characteristic precisely for the initial stage of literary education and is associated with the fact that primary school students find it difficult to navigate the text: their reading field is still small to find desired passage in an unfamiliar text, children are forced to reread it from the very beginning. Since in most cases the work is read aloud by the teacher, children must be given the opportunity to read it on their own, otherwise the analysis of the text will be replaced by a conversation about the layer of facts remembered by children after the first perception of the work. Secondary reading leads to a deepening of perception: knowing the content of the text as a whole, the child will be able to pay attention to individual details, notice what went unnoticed when listening. However, the lesson time is limited, and when studying a large work, it is possible to re-read and analyze it in parts, since the text is already familiar to students.

6) The principle of the unity of form and content (14, 38, 41, 60, 117, 177, etc.).

This principle has a general methodological meaning, which was discussed above, and a particular one, associated with the formulation of tasks and questions addressed to children during the analysis.

MM Girshman wrote: “What methods and means does the writer use in his work? Often one has to read and hear such phrases when analyzing literary works and artistic form. Meanwhile, such a question distorts the essence artistry, reduces art form to materials and techniques. Means and techniques can also be used by a graphomaniac, but a real writer is always driven by the desire to open new things to people. life meaning, "enlightening truth" (L. Tolstoy), into the only possible form of existence and embodiment of which all methods and means are transformed. And if we are talking about understanding a work in the unity of content and form, then one should ask not about what techniques are used, but about what means a given element of the artistic form of the whole, what specific content it embodies. And it belongs real artistic value not to the element itself, but to the work as a whole ”(34, p. 57).

Each task of the teacher in the lesson should be a step towards comprehending the artistic idea of ​​the work. Pupils are required to comprehend the author's position, and not to reproduce the external content of the read, not to clarify where, when, with whom and what happened. The analysis is subject to the image of the life situation by the author, the text of the work, and not the life depicted in it. However, in the methodology of elementary education, one often encounters not just a separation of the form from the content, but in general a complete disregard for the artistic form. As a result, instead of analyzing a work of art, there is a conversation about one of the possible life situations, a specific case is "analyzed".

An example of the traditional "analysis" of V. Bianchi's story "The Musician" is found in the methodological manual for teachers (145). Immediately after reading, children are asked to answer a series of questions:

What hobby did the old hunter have? Was he good at playing the violin? How did the old hunter feel about music? Read about it in the text. What did a familiar collective farmer advise the hunter? What kind of music did the hero of the story hear in the forest while hunting? What are bear hunters called? Why didn't the old bugbear shoot the bear?

From the story you can learn about the bear that, although he is a big animal, he is very careful. Find the lines that talk about it. Who noticed what the "musical" stump looked like? What stump is left from a cut tree? (Smooth, smooth.) And which one? How did it come about? Find words that talk about it.

The first series of questions involves work to reproduce the text. Each of the questions in the story is answered directly and clearly. It is enough for the child to find the right place and read it out, or just remember the corresponding fragment of the text. Such work contributes to the improvement of reading skills, but does not lead to a deepening of the perception of the story, since the child only repeats what is written, but does not reflect on the text. Therefore, a specific answer will be received to the last question requiring generalization - the last phrase of the story will be read: "How can you shoot at him when he is a musician like me." This work cannot be called an analysis of the text, since the idea of ​​the work remains unmasked by the student.

The second series of questions requires from the child some ingenuity, attentiveness, but the conclusions are so far from the artistic idea of ​​the story that it is also impossible to call this work with the text an analysis of the work. The child will acquire knowledge about what shape the stump can be if the tree is split by a thunderstorm, and the enormous moral potential of the story remains out of the student's field of vision.

When analyzing this work, the child's attention should be focused on how the author describes the forest, why he does it, that is, to the art form. In order to comprehend the purpose of this or that element of the text, the child will necessarily have to re-read the corresponding fragment, think about the answer, which is not as obvious as in the first case. Having realized the role of the figurative and expressive means of language, the student will come to understand the idea of ​​the work, that layer will open before him moral issues, which was not mastered by him at the first perception of the text. After all, it is known that children most often miss the description of nature, considering these fragments uninteresting, unnecessary. V this story the reader can experience the same feelings that the old hunter experiences only if he carefully reads the description of the forest, listens to the silence, to the gentle singing of a chip. And having gone through what the hero experienced, seeing the beauty revealed to the old man, the child will understand that it is impossible to kill the bear: it means shooting at the beauty of the world, killing a kindred spirit.

This example is taken from a manual published in 1987, but unfortunately, even in the twenty-first century, ignorance of the art form has not been eliminated by methodology. So, for example, the poem by A.S. Pushkin's "Bird" becomes material for the study of "native customs of antiquity" (79, 168). Acquaintance with the poem is preceded by a conversation about the feast of the Annunciation, and not by a story about the poet. The poem is interpreted as a poetic description of an old custom: “Pushkin writes that, even being in a foreign land, in other country(?! - MV), he observed this custom ”(79, p. 261). “Working” with the text is limited to several questions: “What bright holiday and ancient custom is said in the poem? "" I became available as a consolation ... "How do you understand this expression?" (168, p. 186). “How can a poem be titled according to an event? And what about the main idea? " (168, p. 137). "What does the poet feel when he releases the bird into the wild?" (79, p. 262). As you can see, there is not a single task facing artistic form, there is not even an attempt to move students beyond understanding the surface layer of facts that served as an incentive for the creation of the poem. One of the anthologies invites children, following the Pushkin text, to get acquainted with the poem of the same name by Pushkin's contemporary F.A. Tumansky, which is very successful in itself. But, unfortunately, the texts are considered in isolation, all work with Tumansky's poem is reduced to an interpretation figurative expressions: "How do you understand the expression:" ... I dissolved the dungeon of my captive in the air "? How can you say this in other words? And how is it more expressive? " ... In order to decide "how expressively", you need to think about the meaning, the artistic idea of ​​the poem, but the reader does not contain such tasks. Meanwhile, benchmarking poems of the same name by contemporary poets in an efficient way awakening the thoughts of young readers, helps to see firsthand how rich and ambiguous can be poetic word what an "abyss of meaning" Pushkin's lyrics carry.

Another option for ignoring the form of a literary work is associated with a widespread method of work in elementary school, in which children are asked to consider an illustration before reading the work, guess what it will be about, and then check their reading assumptions by reading the text. Children perceive a visual image before a verbal one, it is believed that this contributes to a deeper perception of the work. However, the research of L.A. Rybak showed that “if an additional stimulant, visualization, stands on the way of figurative comprehension between the work and the student, then the activity figurative thinking necessarily decreases.<...>And some students generally refuse to recreate the appearance of the hero from the reader, because their own impressions are overshadowed by a vivid image-interpretation received from additional source visibility ”(176, p. 112).

Thus, non-observance of the principle of the unity of content and form is manifested in the fact that a conversation about what has been read is aimed at reproducing a layer of facts, often it is built outside of referring to the text, while it inevitably comes down to discussing a life situation, extracting information, but does not lead to mastering the spiritual the content of the work.

7) The principle of novelty (15, 41, 114, 117).

Analysis must carry an element of novelty, make the secret clear. And the point is not in the scale of the discovery, but in its fundamental necessity, and in the fact that the novelty should come from the text, and not be introduced from the outside (114).

In the practice of elementary school, novelty is associated primarily with additional information about the writer, about natural phenomena, about historical events reflected in the work, with acquaintance with literary concepts, that is, it is something external to the work. All this information is necessary and important, but not by itself, but as a means of comprehending the studied work. But it is much easier to bring a reproduction to the lesson, to provide bibliographic information about the writer or to define rhyme to the teacher than to create your own interpretation of the work. The teaching aids are of little help to the teacher. Most modern textbooks and methodological recommendations do not contain a holistic interpretation of the text, which, in our opinion, is both a necessary starting point in preparing a teacher for a lesson, and the result of studying a work. It is not about imposing a teacher's reading of the text on the child, but about the purposefulness of the analysis. If the lesson is not based on any concept of the work, then the lesson turns into a set of random tasks that do not lead to the comprehension of an artistic idea, and do not give anything new to the student. Such tasks often draw the attention of children to individual elements of the form (epithets, rhymes, stanzas), but these elements are considered out of connection with the holistic artistic image. For example, in grade 3, children get acquainted with two poems by F.I. Tyutchev "There is in the autumn of the original ..." and "Sorceress in the Winter ...". Methodological recommendations suggest comparative analysis, which seems quite appropriate. But here is the outline of this analysis: "The structure of the stanzas, the allocation of rhymes, titles, contents (feelings and thoughts of the poet)" (48, p. 42). This plan clearly demonstrates the anti-aesthetic approach to the work and the absence of elementary logic: these poems have no titles - they are named after the first line; it is pointless to consider the structure of the stanzas separately from the content, as well as to single out rhymes by themselves. Comparison of "contents", i.e. The poet's “feelings and thoughts” outside the form of their expression, at best, can lead children to a “deep” conclusion: Tyutchev loved both autumn and winter. Thus, children will not acquire a new vision of the text in such a lesson.

7) The principle of selectivity(13, 41, 114, 177, etc.).

Failure to comply with the principle of selectivity leads to "chewing" the work, to a constant return to what has already been understood and mastered by students. “... both the researcher and the teacher can and should indicate and analyze only such a number of elements that enough for demonstration ideological character and the composition of the work. This does not mean that they have the right to ignore this or that group of components. They are obliged take into account all of them - all groups, all component categories. But they will select from all the groups of components taken into account for demonstrative analysis only those that implement a concretely general and unified principle inherent in the creative method of the work, which are predominantly consistent with it, follow from it, define it, ”wrote G.A. ... Gukovsky (41, p. 115). The idea of ​​an artist can be comprehended through an epithet, portrait, features of plot construction, etc. provided that each element is considered as part of the whole. Therefore, the principle of selectivity is closely related to the principle of the integrity of analysis.

9) The principle of taking into account the generic and genre specifics of the work, its artistic originality(15, 41, 114, 117, 137, 177).

According to the traditional Soviet curriculum, junior schoolchildren got acquainted with only some genres, and on a practical level, without highlighting and understanding the essential features of a particular genre and the principles of dividing literature into genres and genres. Recently, primary education specialists have made a significant step forward in the development of methods for studying small folklore genres, fairy tales, myths. But it is too early to consider this problem solved.

The study of lyrics is especially difficult. For a long time, elementary school was characterized by a "natural history" reading of landscape lyrics. Despite the fact that in theoretical works such an approach has long been recognized as illegal (86, 163, etc.), relapses of "naturalistic" reading are found not only in practice, but also in modern guidelines... For example, in the textbook "Our Russian Word" when studying poems by A.A. Feta "Spring rain" the following task is offered: "Has your memory retained at least one impression of spring rain which you observed yourself? If you have forgotten your impressions of the spring rain, then remember what the poet draws so vividly ”(35, p. 163). The question to the poem "This morning, this joy ..." sounds even more straightforward: "What signs of spring are reflected in the poem?" (35, p. 165). In the textbook "Russian literature" after reading the poems of FITyutchev, AK Tolstoy, IA Bunin, s.D. Drozhzhin and V.Ya.Bryusov are given the task: “In verses about spring, find those that speak of the earliest time of this season, then pick up those in which spring has already fully entered into its own rights” (174, p. 234).

Taking this principle into account should affect both the general direction of the analysis and the choice of techniques. The richness and uniqueness of works of art should correspond to the variety of methods of analysis.

10) Principle of focus on improving reading skills

This principle is specific to the initial stage of literary education. Formation of reading skills taking into account such characteristics as awareness, expressiveness, correctness and fluency is one of the tasks of primary literary education. In the methodology, there are various approaches to its solution. It is possible to form a skill through special exercises: repeated rereading, introducing five minutes of buzzing reading, reading specially selected words, texts, etc. This approach has been fruitfully developed by a number of scientists (V.N. Zaitsev, L.F. Klimanova, etc.). But it is possible to improve the reading skill in the process of rereading and analyzing the work (T.G. Ramzaeva, O.V. Chmel, N.A. Kuznetsova, etc.). Analysis requires repeated and careful reading of the text. It is important that the reading is analytical, not reproductive, so that the teacher's questions cannot be answered without referring to the text. In this case, the child's motivation changes: he no longer reads for the sake of the reading process itself, as it was during the period of learning to read and write, but in order to understand the meaning of what he read, to experience aesthetic pleasure. Correctness and fluency of reading become a means of achieving a new, exciting goal for the child, which leads to the automation of the reading process. The conscientiousness and expressiveness of reading is achieved through the analysis of the text, and involves the use of tempo, pauses, logical stresses, the tone of reading to convey the feelings and experiences of the characters, the author's position, and one's perception of the work. In the course of the analysis, different types reading - reading aloud and to oneself, viewing and attentive, thoughtful reading.

11) Principle of focus on child development

The goal of the school text analysis as a pedagogical phenomenon is not only the development of the idea of ​​the studied work, but also the formation of the child as a person and as a reader. School analysis is designed to contribute to the literary development of the child, the formation of his initial literary concepts and system reading skills.

It is in the process of the reader's analytical activity that the assimilation of the initial literary concepts takes place. When studying each work, one observes how it is "made", what means of language are used to create an image, what visual and expressive capabilities different types of art have - literature, painting, music, etc. The child needs knowledge about the specifics of literature as the art of words as a tool that can be used in analysis. The gradual accumulation of observations on the literary text contributes to the formation of reading skills.

Acquaintance with fiction forms a worldview, fosters humanity, gives rise to the ability to empathize, sympathize, understand another person. And the deeper the read work is perceived, the more influence it will have on the student's personality.

So, the analysis of a work is, first of all, an analysis of its text, requiring from the reader the hard work of thinking, imagination, emotions, which presupposes co-creation with the author. Only if the analysis is based on the principles discussed above will it lead to a deepening of the reader's perception and become a means of the child's literary development.

Speech development methods

Traditionally, in reading lessons, it is used mainly reproductive method development of speech, which is implemented in teaching younger students various types of retelling of the text. With this approach, the natural communicative orientation of speech disappears, since the transfer of the content of the read work becomes an end in itself. Both methodologists and psychologists have repeatedly emphasized that “speaking for the sake of speaking is a psychologically illegal process” (140, p. 64), “speech action, not connected to the activity of communication, closes in on itself, loses its real life meaning, becomes artificial” (59, p. 12). The need to include motivation in the structure of speech activity is obvious, however, in practice, the communicative motive, which gives rise to the need for expression, and the educational motive, and often the motive, are not always separated. cognitive activities issued as a speech motive for activity.

This is exactly what happens when using the retelling of a literary text as the main method of developing speech. The task is set before the child - to convey in his own words the content of the read work. Let us digress for a moment from the fact that this task was posed inappropriately: the content conveyed in other words will be inadequate to the content of the initial text, since a change in form always leads to a change in content, and let's see what is the purpose of this task as perceived by the child. The younger schoolchild, as psychologists have repeatedly shown, does not feel the need to return to the text he has read, he is sure that "everything is clear to him" the first time. Consequently, he does not have the need for another reproduction of what he has read, the teacher's task is perceived as an educational task, which means that the goal perceived by the student is reduced to the correct execution of the exercise and getting a good grade. The child does not have a speech motive, a need to speak out. The text that the child must reproduce is well known to both the teacher and the class - possible addressees of speech. The process of speaking in this case is performed precisely for the sake of speaking itself, that is, psychologically this process is unjustified. Therefore, a situation is so typical for a reading lesson when the responding student helplessly falls silent, forgetting the right word, since he reproduces from memory exactly a chain of words, and does not express in his speech, the reader's interpretation of events, characters, does not recreate the image created by the writer. The class is inactive, as it is boring to listen to a student's retelling of a perfect work of art. Even if the student remembers the text well and the retelling is done close to the text, the child's speech, as a rule, is little emotional, devoid of expressiveness (note that expressiveness appears if you are asked to read the same text from a book or by heart).

Even K.D. Ushinsky wrote: “There is no doubt that children learn most of all by imitating, but it would be a mistake to think that independent activity will grow out of imitation by itself” (204, p. 538). Since the main goal of speech development is the development of the ability to adequately express one's own thoughts and feelings in a word, it is necessary to put the student in the position of the author, the creator of his own utterance, and not a mechanical transmitter of someone else's speech. In this case, not only and not so much a motive for learning is created, but a motive for speech - the need to speak out in order to convey your perception of the environment, your thoughts, experiences, i.e. speech is included in communication activities.

Thus, although all known methods can be used in the learning process, the main place should be taken by the method literary creation(according to the classification of V.G. Marantzman, 131), or a partial search method (according to the classification of I.Ya. Lerner, 104).

In order to substantiate methodically correct organization work on the development of speech, we turn to the data of modern psycholinguistics and consider the process of speech generation.

The methodology, as a rule, dealt with a ready-made utterance of the child, everything that happens in the mind of the speaker until the moment of verbalization of thought in external speech was not the subject of pedagogical influence. Recently, the problems of the relationship between thinking and speech, the patterns of generating utterances have received new light in the works of psycholinguists and can be mastered by the method.

Among the many psycholinguistic models of the speech generation process, the model proposed by E.S. Kubryakova (200), seems to be the most valuable from a methodological point of view, since it allows one to correlate the traditional organization of work on the development of speech with the data of psycholinguistics, to see the shortcomings and prospects of the method.

Scheme 1

thought formation

highlighting individual elements

in the stream of consciousness

the birth of personal meanings

and the search for their corresponding

linguistic forms

Creation of external speech utterance

“A speech utterance is preceded not so much by a ready-made thought, but by a“ preconception, ”mental activity that generates meanings; speech is preceded by its intention, the very desire to say something, the impulse-intention. It acts as a trigger mechanism that activates linguistic consciousness and directs this latter towards solving a certain pragmatic problem ”(200, p. 32). “A design is a speech trigger that combines the speaker’s intention with his attitude” (81, p. 75).

“... Verbalization of thought is most often creative process, in the course of which the concept receives not just some objectified linguistic form - it is clarified, refined and concretized. In the act of speech, something new is born: the message that materialized the thought demonstrates the special unity of the found form and the content embodied in it, enriched precisely because it has finally acquired a “linguistic binding” and can become the property of another ”(200, p. 33) ...

As can be seen from the diagram, the starting point in generating a statement is the presence of motive and design. The motive of speech determines why and for what a person speaks, the concept of a plan is associated with the subject content, theme and purpose of the statement. “You can interpret a plan as an anticipation of what needs to be said in order to achieve what was conceived” (200, p. 49). The idea does not necessarily have a verbal form and its deployment can take place in different ways: “The idea of ​​the emerging speech can be formed both in object-figurative and verbal form ...” (200, p. 77).

Using the concept of "personal meaning", E.S. Kubryakova means the content of images, representations, existing or forming in a person's head, “represented either entirely on a non-verbal code, or in a mixture of non-verbal and verbal. However, as soon as such confusion has occurred, personal meanings can be considered as having crossed the pure threshold of the brain and entered the kingdom called inner speech ”(81, p. 78).

If psycholinguists write about an idea as a necessary element of any utterance, then literary scholars emphasize the role of a plan in artistic creation. V.G. Belinsky wrote: “... the content is not in the external form, not in the concatenation of accidents, but in the artist's intention, in those images, in those shadows and overflows of beauties that appeared to him even before he took up the pen, in a word - in the creative concept. Artistic creation must be quite ready in the soul of the artist before he takes up the pen. ... Events unfold from an idea like a plant from a grain ”(8, p. 219).

In the methodology, the term "design" is often used synonymously with the term "main idea", although the concept of "design" is not only much broader, but also qualitatively different from the concept of "main idea of ​​the text." The main idea can be formulated in the form of a logical formula and offered to the student in a finished form even before the creation of the essay, it is associated, as a rule, with the result, the conclusion to which the author of the text should come. The idea is personal in nature, it is not set from the outside, but is born in the mind of the student, it is not exhausted by the work of thinking, but includes emotions and imagination as the most important components ... The main thought carries the general meaning of the statement, abstracting from semitones, shades of meaning, ways of expressing them. The idea contains all the additional shades of meaning.

V school essays As a rule, there is no idea - that seed that is capable of developing, clothed with verbal fabric, although the main idea can be traced in the student's text. The student often creates a text by attaching one sentence to another, thinking about what else to say in order to achieve the required volume and confirm a conclusion known to him in advance. Yes, and preparation for an essay in a lesson usually begins not with a discussion of the concept as a starting point that determines the future statement as a whole, but with a discussion of the introduction. That is why children work so painfully at the beginning of the text: it is extremely difficult to write an introduction to something that does not yet exist. Speaking about the integrity of a work of art, M.M. Girshman wrote: “In a literary work ... a three-stage system of relations is manifested: 1) the emergence of integrity as a primary element, as a starting point and at the same time a limiting principle of a work, a source of its subsequent development; 2) the formation of integrity in the system of correlated and interacting with each other constituent elements works; 3) the completion of integrity in the complete and integral unity of the work ”(33, p. 13). The aesthetic value of the creation of art and student work, of course, are incomparable, but the process of a child's literary creation proceeds according to the same laws as that of a "real" writer, therefore the presence of a plan, its gradual development and, finally, the embodiment of a plan in a text are necessary conditions for the productivity of a child. literary creation.

Scientists associate the emergence of a concept and a motive for speech with emotions: for a personal meaning to arise, “the material to be assimilated must take the structural place of the goal ... This is possible only if the child is interested, if the solution of this problem is emotionally relevant for him” (140, p. 70 ). It is possible to excite the student's emotions, to arouse the need for expression, in various ways, which will be discussed below, for now, let us note the obligatory emotional experience for the emergence of the motive and design of speech.

As can be seen from the scheme of speech generation, the path from a concept to an externally formalized speech utterance goes through the selection of individual elements in the stream of consciousness, or, in the language of methodology, through planning a future utterance. Moreover, this plan is born not only not in the form of clearly formulated and following one after the other points, but often and generally not in verbal form. Meanwhile, schoolchildren are required to have a clearly formulated verbal plan, which by no means always contributes to thinking over the structure and content of a future statement, or developing a plan. Consider the requirements for the plan contained in a number of guidelines.

M.R. Lvov writes: “In elementary school, a plan is required in the preparation of all stories and essays, with a few exceptions. The preliminary drawing up of plans is not necessary only when preparing improvisational stories, sketches of pictures of nature, letters, as well as essays-miniatures, consisting of 3-4 sentences.<...>Children first learn to draw up a plan based on the stories they have read and retell them according to the plan, then make up an outline of the presentation; an essay plan based on a series of pictures, that is, in essence, they head these pictures and, finally, make up an essay plan, where it is easy to find a clear time sequence ”(111, p. 135). As can be seen from the quotation, drawing up a plan for a finished text and a plan for one's own utterance are thought of as very similar actions, the criterion for dividing the text into parts and drawing up a plan is the time sequence of the events described, differences in the structure of texts of different types of speech are not taken into account. True, this technique was proposed at a time when the speech concepts "text", "type of speech", "style", etc. were not studied in elementary school. However, in the practice of the school, this approach prevails at the present time. The work on drawing up an essay plan is based on the teacher's questions: Where do we start? What will we write about next? What then? How will we finish? M.R. Lvov (111), M.S. Soloveichik (175) and others pointed out the possibility of individual adjustment of the plan in the process of working on an essay, but in practice, as a rule, the plan is written by the teacher on the blackboard, it is uniform and obligatory for all students.

As practice shows, students rarely make a plan for future statements on on their own, but they do this only at the direction of the teacher, and even then they often first write an essay, and then, in order to fulfill the teacher's requirement, they draw up a plan for an already prepared text. Perhaps this is due to the fact that the teacher's task to draw up a clear plan and strictly follow it runs counter to the psychological laws of speech generation.

“The path from thought to word is a complex and step-by-step process of transition from vague images, associations, representations, etc. that arise in a person's head, from concepts and personal meanings activated at the moment of awakening of consciousness and the need to say something - to processing of these personal meanings, produced for the purpose of their further "obslovlivanie", for which some personal meanings are pulled into one whole, some are eliminated, some are in the focus of consciousness, etc. From a linguistic point of view, this reworking turns into a transition from personal meanings to linguistic meanings fixed in the language system for certain linguistic forms. The linguistic form is chosen to designate personal meanings in accordance with its linguistic meaning ”(81, p. 139). E.S. Kubryakova believes that there is no equal sign between the internal code - the language of the brain - and the language code. “The language of the brain of each person is individual, for the entire experience of mankind, to the extent that it is mastered by a given person, is passed through his own perception and comprehension of the world. No matter how stereotypical the concepts in a person's head are or are close to the canons of the generally accepted, they still constitute his individual property and therefore have a socially worked out, but personally refracted character in his head. To acquaint with the personal meanings of another person, you need a category linguistic meaning as fixed in a given language system for a circle of forms and then extracted from them as shared knowledge. … The conditional nomination is replaced by one that is understandable for another person ”(81, pp. 143 - 145).

In the methodology, the idea was expressed about the possibility of a plan "for oneself", which does not have a clear speech design and a plan "for others" (132, p. 204). An interesting methodological solution for teaching planning a future statement was proposed by Sh.A. Amonashvili, who wrote about "clouds of thought" arising in the mind of a student contemplating his future essay, about the possibility of "thickening clouds" and "clarification", about the need to keep in mind the thoughts, images, comparisons that have arisen. Children wrote down the plan in the form of "clouds of thoughts", those phrases, words, and, possibly, conventional signs, drawings that helped them fix the result of thinking about the topic (3, pp. 62-63). Of course, this is not yet a plan: such a recording is devoid of clear verbal formulation, compositionally not organized, but this is a necessary stage in creative work, corresponding to the selection of individual elements in the stream of consciousness, the birth of personal meanings and the search for linguistic forms corresponding to them. Such a record is made by the student for himself, then it is corrected, clarified by the child in the course of his work on the essay, it can take the form of an ordinary plan with clear formulations and a certain sequence of points, but this plan should not be something immutable, it is only a means that helps line up the text.

Disputable, in our opinion, is the question of the need to record a collectively drawn up plan. On the one hand, such a plan will make it easier for the child to build the text, help keep the necessary connections in mind, divide the text into parts when writing, etc. On the other hand, if the student's eyes are in front of a collectively drawn up plan, one for all, then this will lead to a "fading" of personal meanings, to the standardization of thinking and speech, and the rejection of the author's intention.

Thus, the following sequence of work on the essay is advisable:

1. Statement of the speech task. Awakening the need to speak.
2. Discussion of the concept. Fixing "clouds of thought". Making a plan for yourself.
3. Translation of the emerging images into a verbal row. Pondering the composition. Making a plan "for others."
4. Writing a rough version of the essay.
5. Editing the text after the teacher's recommendations.
6. Registration of the final version of the essay.

The speech generation model helped to establish the sequence of work, but this model does not fully reflect the structure of communication, since it does not take into account the perception of the utterance by the addressee of speech. To determine the content of each of the stages, let us turn to the model of the communicative process proposed by B.N. Golovin (37, p. 30).

Kuznetsova Svetlana Alexandrovna,
"Honorary Worker of General Education of the Russian Federation",
primary school teacher of the highest category GBOU SOSH No. 634 with in-depth study in English Primorsky district of St. Petersburg

The analysis of a work of art in the lessons of literary reading is one of the most important types of work on the text.

The main purpose of literary reading as academic subject promote the development of the child's personality by means of the art of words, educate the need for communication with art, introduce the student into the world of fiction, introducing him to the spiritual experience of mankind.

One of the main tasks at the initial stage of literary education for junior schoolchildren is teaching the techniques of analyzing a work of art.

It is customary to single out the following principles for the analysis of a work of art:

1. The principle of purposefulness. The purpose of the analysis is to deepen the children's perception of what they have read.

2. The principle of reliance on direct emotional perception of the whole text.

3. The principle of taking into account the age and individual characteristics of the perception of the text.

4. The principle of taking into account the needs of the child.

5. Principle careful attitude to the text of the work.

6. The principle of unity of form and content.

7. The principle of selectivity and integrity.

8. The principle of focusing the analysis on the literary development of the child, on the formation of reading skills and the improvement of reading skills.

The method of analyzing a work of art is a specific operation performed by the reader in the process of mastering the idea of ​​a literary text.

In my work, I use various analysis techniques:

Verbal and graphic drawing;

Analysis of the illustration;

Drawing up a text plan;

Stylistic experiment;

Compilation and illustration of filmstrip and screenplay;

Reading by roles with preliminary preparation;

Staging a piece;

Drawing up a story about a hero and a story on behalf of a hero;

Raising a little writer;

I will dwell on some of them and give examples of working with the techniques I often use.

In the first grade, the most common and favorite technique for children is graphic drawing, which aims to illustrate the work in such a way as to reflect the author's intention in their drawings.

Children with pleasure and a great deal of imagination illustrate small fragments of fairy tales, stories, poems, reflecting in the drawings the content of the works, their attitude towards them and the heroes. Often such works are drawn up in the form of small folding books, which are performed by children, first under the guidance of a teacher, then independently. This is also the first experience of project activities.

The group work to illustrate literary works is the creation of filmstrips. The little reader, working in a group, in collaboration with his classmates, embodies his artistic intention, based on the text. Learns to break it down into parts (fragments), then illustrate it and sign it with a line from the text that most closely matches the picture. Modern technologies make it possible not only for a child to see his drawings for episodes, but also to sound them with musical accompaniment. And then, viewing the created joint filmstrip on the electronic board, experience a feeling of complete satisfaction with your work.

The screenwriting technique also helps in a more accurate perception of a work of art, where the child learns to justify the author's choice.

An example is a fragment of the cartoon for the story of A.P. Chekhov "White-fronted", compiled by Nikitina Yulia.

Plan: general - so that you can see the puppy, the wolf and the road.

Angle: from the side - so that you can see how the wolf runs and strains her eyes to see the puppy.

Color: gray snow, black wolf with a puppy. It was night. The characters were not colored.

Sound: quiet so that the puppy's measured footsteps can be heard.

Light: dim - poor lighting. It was dark.

Camera: moveable to show the actions of cartoon characters.

The next method of text analysis, used in literary reading lessons, is a stylistic experiment. This is a deliberate distortion of the author's text, the purpose of which is to give children material for comparison, to draw their attention to the author's choice.

I will give an example of a fragment of a lesson on the topic: "Poem by S. Yesenin" Good morning! "

Why the poem, which has the title "Good morning!" starts with the word "dozed off"?

Children: the morning is just beginning, the stars are fading, they “dozed off”.

Listen to how the first lines of the poem sound:

"The golden stars dozed off

The backwater mirror trembled,

The light dawns on the river backwaters

And blush the grid of the sky. "

What sound do all the words in the first two lines begin with and why?

Children: the sound [z] is repeated, the tongue trembles, the lines are trembling, timid.

I will slightly change the third line, instead of the word "dawns" I will insert "pours".

Read how the line will sound now.

Children: "Light is pouring on the river backwaters"

What changed? When can you say that the light is "pouring"?

Children: so you can say, when the sun has completely risen, and now the light is just breaking through, it just "dawns".

This fragment shows how children, comparing two words, can see how accurately the author chooses words to express his thoughts.

The direction of the literary development of the younger schoolchild - upbringing little writer.

While working on a work, children learn to see how it is “done”. They get acquainted with how emotions are expressed, the characteristics of the characters, with the purpose of individual elements of the text. At the same time, work is constantly being carried out on different sides of the text. Namely: over the content. Structure, language.

First, children come up with their own texts by analogy with what they read. In the third grade, my children and I created our own "Collection of Fairy Tales", where we divided all the fairy tales into types. Arranged them in certain sections. Children acted as authors and illustrators of their works.

Here are some examples:

Take care of your honor from a young age.

A peasant with two sons lived in one Russian village. He was a blacksmith. His wife died long ago, and he alone raised his sons. He wanted to see them hardworking and honest.

When the sons grew up, the man began to teach them blacksmithing. He ordered his sons to shoe a horse.

The eldest son got up early, went to the smithy and shod his horse. The father approved the work of his son, praised him.

It's the junior's turn. But he, having come to the smithy, fell asleep. And he didn't shoe the horse, and he didn't save the fire in the stove. He told his father that he had done everything. But the truth came out. The blacksmith, having learned about the deception, drove the youngest son out of the yard. Take care of honor from a young age!

Limanskaya Tatiana

The tale of the beautiful princess.

Once upon a time there was a king with a queen, and they had a daughter, Princess Violetta. The girl was kind and very beautiful, so everyone loved her. An evil sorceress lived not far from the palace.

Once she met a beautiful princess, envied her beauty and bewitched the girl, made her face ugly.

Poor Violetta put a hood on her head so as not to frighten passers-by and went into the forest. There she came across a hut in which a kind old woman lived. The girl told her about her grief. The old woman explained that she could help. To do this, you need the princess to bring: a pheasant feather, white rose petals, drops of morning dew.

The girl set off and soon met a hunter, whose hat was decorated with pheasant feathers. Violetta asked to give her one feather, saying that the fate of the princess depends on it. The hunter immediately agreed to help Violetta and gave the pen. Then the girl went to the royal garden. There she asked the gardener for white rose petals, saying that the life of the princess depended on them. The gardener was happy to help Violetta and soon brought the needed petals.

In the morning, on the way to the good old woman, the girl collected dew drops. The old woman took what she had brought from the princess and began to prepare the potion. Violetta took the potion and went to the house of the evil sorceress. There, the girl offered the mistress a miracle potion and said that it would help her become the most beautiful and powerful. The sorceress happily agreed and drank the potion. And then a miracle happened! The evil sorceress became kind and cast a spell on Violetta. The princess returned to her parents safe and sound. The king and queen were happy.

Since then they have lived in peace and harmony.

Kolesnikova A.

Interesting tasks creative nature, where children themselves have to come up with a continuation of the given text.

After graduating from elementary school, a child should not only have good reading technique, but also be a “thoughtful reader”, be able to express and argue his attitude to what he read, emotionally experience it, which is what learning contributes to literary analysis artistic text.

These are those general provisions which allow the teacher to construct methodically competently the analysis of a specific test. They are based on the laws of the perception of literature as the art of speech by the children of the younger school age... In the methodology, it is customary to distinguish the following principles of analysis:

1. The principle of purposefulness.

The purpose of the analysis of the work is to deepen the perception of what has been read, to comprehend the artistic idea.

Two methodological conclusions follow from this position.

· The main goal of each reading lesson is to master the artistic idea of ​​the studied work. Based on this goal, the tasks of the lesson are determined and the means for its solution are selected (that is, it is determined what literary knowledge and in what volume students will need, what observations of the specifics of a given work need to be done in the lesson, what methods of text analysis will be appropriate, what kind of work on the development of speech is necessary, etc.).

· Each of the teacher's questions should have a specific purpose. The teacher must clearly know what ZUNs are formed in the child when completing the assignment.

2. The principle of reliance on integrity, direct, emotional, reading perception.

Before reading, it is necessary to create an appropriate emotional mood (story, conversation, analysis of a piece of painting, music, quiz ...). The teacher's reading is exemplary, recording, reading to oneself. Reading out loud by children is not emotional enough.

During the initial perception, the text must be read in its entirety. If the volume of the work is large and the whole lesson is spent on reading, then the analysis is carried out in the next lesson.

The term "holistic perception" in this case means that the text of the work should be perceived by the child as a whole, without adaptation. The analysis of any part of the work that the student has not read to the end cannot lead to success, since the natural reader's interest is violated, there is no way to correlate the part and the whole, which means that the idea of ​​the work remains inaccessible. Thus, during the initial perception, the text is necessarily read in its entirety. If the volume of the work is large and the whole lesson is spent on reading, then the analysis is carried out in the next lesson. A preliminary reading of the work at home is also possible. In this case, it is advisable to start the lesson with the exchange of impressions about what was read, with rereading passages of the text in order to introduce students to the atmosphere of the work, recall the plot and prepare them for analysis.

Immediacy of perception is also an important requirement associated with the organization of the primary perception of the text. You should not "interest" the child and direct his attention with such tasks as: "I will read you the poem" Porosha "by S. A. Yesenin, and you listen and think about what time of year in question in a poem ". Such tasks before reading keep the young reader in suspense, do not give him the opportunity to enjoy the music of the verse, feel the pleasure of communicating with the text and at the same time do not contribute to deepening perception, because the answer to such a question is obvious. The efforts of the teacher should be aimed at ensuring that the emotional reaction of the child during the initial perception is consonant with the emotional tone of the work. Therefore, the first stage of the lesson - preparation for primary perception - aims to create the necessary emotional atmosphere in the classroom, to tune children to perception specific work... This goal can be achieved by various methodological methods: this is the teacher's story about the events associated with the writing of the work (for example, the story about the exile of Alexander Pushkin to Mikhailovskoye before reading the poem "Winter Evening"), and a conversation that revives the life impressions of children and giving them the information necessary for the perception of the text (for example, a conversation about the feelings that a thunderstorm causes in people and about the reflection of fear of this formidable natural phenomenon in mythology before reading F.I. Tyutchev's poem "Spring Thunderstorm"), and analysis of paintings, close to the subject of literary texts (for example, consideration and discussion of the reproduction of the painting by I.E. Repin "Barge Haulers on the Volga" before reading the poem by N.A. humorous stories N.N. Nosov), etc.

The teacher should also think about who will read the text. The younger the children, the more expedient it is that for the first time they listen to the text performed by the teacher, since the poor reading technique of students in grades I-II does not allow them to treat the text they read independently as a work of art, to get aesthetic pleasure from reading. However, children should gradually be taught to read an unfamiliar text to themselves. It is impractical to instruct a child to read an unfamiliar text aloud to the whole class, since such reading can be fluent and correct, but it cannot be expressive, which means that the main thing will be lost - the emotionality of primary perception.

Stages of text perception:

I. Primary emotional global (undivided) perception of the text - attitude to events at the first impression.

Exchange of impressions.

Expression of an emotional attitude to events, heroes.

Ascertaining the actual understanding of the text. Techniques used for training:

· Reading and primary commenting - interpretation of events in the students' view;

· Primary analysis;

· Observation of the text, identification of unfamiliar words-concepts, words-images;

· Primary emotional relationships.

II. Secondary perception of the work.

The beginning of comprehending events during repeated reading, identifying the relationships, relationships of characters, their emotional experiences, motives of actions and personal assessments of the reader.

Observing the text.

Explanation - interpretation of events.

Attention to emotions, empathy for heroes.

Comparison of characters.

Reader's judgments.

· Selective re-reading;

· Citation;

· Comparative analysis of heroes; reading and authoring positions;

· Attention to detail, features of the image of heroes.

III. Deeper perception.

Creative comprehension of the text, vision of events (we represent events, heroes).

The selection of material that allows you to more fully represent the hero: his appearance, actions, environment, feelings, etc.

Analysis of the material.

A mental image of the hero (a story "about himself"), and then the image aloud.

Analysis of linguistic means.

Assessment of the deed, personal attitude to the character.

· Selective reading;

· Reasoning about the nature of the act;

· Supporting materials (illustrations, models, etc.);

· Presentation of paintings, characters, events and creative storytelling.

IV. Analysis of the form of the work.

Consideration of the construction of the work, its genre features; watching over linguistic means images of characters.

Observing the form - composition of the text (why such a structure was chosen), taking into account the peculiarities of the genre.

Comparison of content and form (which gives the author and readers the chosen structure).

Comparison of works of the same or different writers in form (features of composition, language).

· Repeated commented reading;

· Expression of personal judgments;

· comparative analysis;

· Re-reading and clarification of the position of the reader.

V. Personal attitude in expressive reading.

Expressive reading as a result of emotional-figurative and conceptual understanding of the work, the practice of expressive reading.

Revealing the subtext.

Taking into account the peculiarities of the genre.

Conscious choice speech means expressiveness - intonation.

Assess your reading.

· Correcting your own reading in the process of preparing the text for expressive reading;

· Test of reading options, their comparison and reasoning of choice;

· expressive reading based on meaningful perception of the text.

Pay attention to the tendency that appeared in the 90s of the past century: reading in primary grades is becoming literary reading, reflecting the artistic and aesthetic principle of constructing and studying material. There is a gradual transition from thematic, illustrative reading to the creative interaction of the reader, the work and the author, the study of a literary work as an intrinsic value, author's, individual.

Authors of new concepts and educational books for reading (3.N. Novlyanskaya, G.N. Kudina, L.E. Streltsova and N.D. Tamarchenko, T.S.Troitskaya, O.V. Dzhezheley, M.I. and L.A. Efrosinina, E.E. Katz, V.G. Goretsky) build them in different versions, but keep for children samples of the best Russian and foreign literature, organizing their full-fledged aesthetic perception, forming a creative reader who is interested in reading, literature as the art of words.

In the writings of many of these authors, there is a tendency towards a broader introduction of literary concepts and concepts necessary for the perception of literature as the art of speech; ideas about the genre diversity of literature are expanding (introduced major works- stories, legends, ballads, plays, essays); works and a book are studied together, each object in its own specificity; at the same time speech and literary development of students is carried out; great attention is paid to creativity.

The teaching methods are also diverse: creative reading, literary conversations, analytical reading, commented and selective reading, expressive reading, etc.

All these provisions indicate that the method of reading as a science and practice is constantly developing and should be in the field of vision of the teacher.

3. The principle of taking into account age-related and individual characteristics of perception.

The perception of a work of art by children of primary school age has its own specific features. In the book, they see, first of all, the object of the image, and not the image itself, identifying artistic reality and real life... The focus of the younger schoolchildren is on the event and the heroes, and the event is perceived as genuine, taking place in reality, and the heroes are perceived as living people, participants in the described events. Research by L.I. Belenkaya and O.I. Nikiforova show that 8-year-old children are attracted by the detailed development of the action. An omission in the description of an act of one of the components makes it difficult to determine the features of the characters portrayed even for fifth graders; junior schoolchildren are also detailed description they do not always take into account the circumstances, motives, consequences of actions, which leads to a one-sided assessment of the characters. Usually, heroes are either fully accepted by children, or cause negative feeling- no halftones or shades. Children 8-9 years old are capable of generalizing what they read. When reading on their own, they highlight more or less significant connections and relationships in a work of art, but mostly external, sensory, visual. The child generalizes within a specific image, a specific situation. By the age of 10, he comes to an abstract understanding ideological meaning works, although it is usually referred to in a response to a specific image.

Knowing the specifics of the younger student as a reader helps the teacher plan the course of the analysis, but does not relieve him of the need to check the students' primary perception of the work: what they saw in the text on their own, what they have difficulty in, what has passed their attention, to amend the planned course of the lesson. Therefore, a special stage is highlighted in the lesson - checking the primary perception. The methodology for identifying the primary perception of a work of art is described in detail above (see "Methodology for identifying the level of literary development of primary schoolchildren"). It is only important to emphasize that at this stage the children's answers should not be corrected. The purpose of this stage of the lesson is to determine what the children saw in the text on their own, and what they are experiencing difficulties, what has passed their attention, and to amend the planned course of the lesson.

4. The principle of taking into account the needs of the child.

One of the specific features of younger students as readers is that they do not need to reread and analyze the text. Children are sure that after the first acquaintance with the work, they understood everything, because they do not even suspect about the possibility of a deeper reading. But it is precisely the contradiction between the actual level of perception and the potential of the meaning of a work of art that is the source of literary development. Consequently, the teacher must necessarily awaken in the young reader the need to re-read and think over the text, to captivate him with analytical work. This goal is served by the third stage of the lesson - the formulation of the educational problem. It is very important that the child accepts the task set by the teacher, and later learns to set it himself. It is advisable to use various ways of setting the educational problem. First-graders can be carried away by an interesting activity for them, for example, designing a children's picture book. To decide how to arrange a book, you need to determine how many pages the text should be divided into and why, what and how will be depicted in each illustration, what the cover will be. In order to answer these questions, the child, together with the teacher, re-reads and analyzes the text, discovers something new in it that has not been noticed before, and is convinced that careful re-reading is necessary and interesting. Older children can be offered as a learning task problematic issue... Often this question arises when checking the primary perception, when it is found that children evaluate the characters of the work differently or they have different emotional perception of what they read. Analysis in this case serves as a means of confirming or refuting the points of view that have arisen. A good way to formulate an educational problem is to compare different versions of reading a poem, different melodies, illustrations by different artists to one work, etc., since the material for comparison always wakes up the child's thought, causes the need to make a choice and justify his position.

It is advisable to use various ways of setting the educational problem.

Grade 1 - to captivate interesting views, activities, for example, the design of a children's picture book (for this you need to re-read and analyze the text).

Grade 2-3 problematic question (for example, children evaluate the characters of the work differently), comparison different options reading a poem, various melodies, illustrations by different artists for the analysis of the work.

5. The principle of attentiveness to the text of the work.

After setting the educational problem, it is necessary to give the children the opportunity to re-read the text on their own. Secondary perception of the text, directed by the formulation of an educational problem - the fourth stage of the lesson. With the secondary perception of a large-scale work, it is quite permissible to re-read and analyze it in parts, since the text is already familiar to students.

6. The principle of unity of form and content.

This principle is based on the literary position on the unity of form and content. GA Gukovsky emphasized: “You cannot study a work without interpreting it, without permeating all the study without a trace with an ideological interpretation. You cannot think like this: first we will establish the object of interpretation, and then we will begin to interpret, or this way: before talking about the idea of ​​a work, you need to know the work. This is incorrect, since to know a work means to understand what is reflected in it in reality, that is, to understand its idea ... The problem is how to correctly, fully and convincingly for the "audience" to reveal the idea of ​​the work , to reveal it in the work itself, and not to attach it to the work, to reveal it in the system of images, and not only in the direct judgments of the author ... "

Taking this principle into account requires the teacher to carefully consider the wording of questions and tasks (Appendix 1).

Of course, reproducing questions cannot be dispensed with, but they should not form the basis of working with the text, their role is official - to remind a certain place in the text to reproduce an episode. Let us compare from this point of view three questions for the story N. A. Artyukhova "Coward":

What did the guys do when they heard that Lokhmach fell off the chain? What did Valya do?

Why did Valya run out to meet the dog?

The first question is reproductive in nature, it does not lead to a deepening of perception, but only refers the child to a certain fragment of the text. The second question requires reflection, assessment, but the student's thought is directed not at a work of art, but at solving a moral problem. The question does not encourage children to refer to the text, they answer, relying on knowledge of the situation, on their own life experience... Consequently, the enrichment of the individual through a work of art does not occur. And only the third question is analytical in nature, directs the attention of students to the image of the character by the author. Pondering the meaning of the word “screeched” in this description, the children understand that Valya is very scared, she is afraid of the formidable dog no less than the others, but nevertheless she runs to meet him, she cannot do otherwise. This does not mean that she suddenly became brave, it means that there is a force that makes a timid person take trouble on his shoulders. This power is love, the desire to protect the younger, responsibility for him. Coming to this conclusion, children acquire more than knowledge of another life situation - they acquire moral experience.

7. The principle of selectivity.

In the lesson, not all elements of the work are discussed, but those that in this work most vividly express the idea. Consequently, the choice of the path and methods of analysis depends on the characteristics of the work being studied.

In the lesson, not all elements of the work are discussed, but those that in this work most vividly express the idea. Consequently, the choice of the path and methods of analysis depends on the characteristics of the studied work. For example, the perception of works that reveal the process of the formation of a character's character (N.N. compositions. You can use a technique such as drawing up a plan. This will make it possible to identify the cause-and-effect relationships between episodes, to trace the development of the character image. When studying stories based on one event that vividly reveals life positions heroes, their characters (VA Oseeva "Sons", "Three Comrades", LN Tolstoy "Shark", "Jump", YY Yakovlev "Knight Vasya", etc.), it is inappropriate to analyze the composition. It is better to use the technique of verbal drawing, which allows you to recreate in your imagination the picture of life described by the author, to penetrate the emotional tonality of the work, or reading by roles, which helps to understand the position of each character, to separate the point of view of the hero and the author's point of view.

8. The principle of integrity.

The integrity of the analysis means that the artistic text is considered as a single whole, as a system, all elements of which are interconnected, and only as a result of comprehending these connections can the artistic idea be mastered. Therefore, each element of the work is considered in its relation to the idea. Analysis of a landscape, a portrait, the actions of a character, etc. out of context leads to a distortion of the artistic idea. So, for example, in modern textbooks for elementary school, the poem by A. K. Tolstoy "Now the last snow in the field is melting ..." The compilers of the anthologies introduce children to the description of the arrival of spring, and the poem by A. K. Tolstoy contains a sad question: "Why is it so dark in your soul and why is your heart heavy?" The composition of the poem is built on the contrast of the harmony of nature and confusion human soul, of course, in the absence of the second part of the poem, his artistic idea is distorted, the landscape given in the first two stanzas loses its functional orientation.

The principle of holistic analysis does not contradict the principle of selectivity. Analysis of one of the elements - the name of the text, composition, portrait of a character, etc. - can lead the reader to master the idea of ​​the work, if it is considered as one of the means of existence of the artistic idea.

9. The principle of focusing the analysis on the literary development of the child, on the formation of special reading skills, on the improvement of reading skills.

In the process of analysis, students observe the specifics of a literary work, on this basis, they form initial literary ideas and reading skills.

At the initial stage of literary education, special attention should be paid to the formation of reading skills, taking into account such characteristics as correctness, fluency, awareness and expressiveness. The improvement of reading skills occurs in the process of analyzing the work due to repeated return to the text. It is important that the rereading is analytical, not reproductive, so that the teacher's questions cannot be answered without referring to the text. In this case, the child's motivation changes: he no longer reads for the sake of the reading process itself, as it was during the period of learning to read and write, but in order to understand what he has read, to experience aesthetic pleasure. In this case, correctness and fluency of reading become a means of achieving a new, exciting goal for the child, which leads to the automation of the reading process. Consciousness and expressiveness of reading are achieved through the analysis of the text and involve the use of tempo, pauses, logical stresses, the tone of reading to convey the feelings and experiences of the characters, the author's position, and one's own perception of the work.

10. Analysis of the text ends with synthesis.

During the lesson, a generalization stage is necessarily provided. Forms of generalization: highlighting the main problems posed in the work, analysis of illustrations, expressive reading, etc.

Homework should encourage children to re-read the text from a new angle of view, should be a new step in perception.

Literature

1. Lvov M.R., Goretsky V.G., Sosnovskaya O.V. Methods of teaching Russian in primary school. - M .: "Academy", 2000. - p. 142-148.

2. Methodological foundations of language education and literary development of primary schoolchildren / Ed. T.G. Ramzaeva. - SPb, 1996, p. 40-64.

3. Omorokova M.I. Improving the reading of younger students. - M., 1997.

4. Ramzaeva T.G., Lvov M.R. Methods of teaching Russian in primary school. - M., 1987.

Questions and tasks for self-examination

1. What are the psychological characteristics of the perception of a work of art by younger schoolchildren?

2. How are the levels of text comprehension and the levels of literary development of students related?

3. What literary foundations determine the methodology of working on a work of art in primary school?

4. What should be understood by the form of a work of art?

5. What are the principles underlying the analysis of a work of art?

6. What conditions of work on a work of art must be observed in order for students to achieve results in this activity?

7. Conduct practical research in one of the classes of primary school: identify the level of literary development of the students in this class. To do this, select the appropriate tasks (see the book. Methodological foundations of language education and literary development of primary schoolchildren / Under the editorship of TG Ramzaeva. - SPb., 1996. P.42-52).

8. Conduct a literary analysis of works of art from teaching material any reader for primary school (optional): story, fairy tale, fable, lyric poem, artistic description.

9. Based on the literary analysis of the selected works, determine the educational opportunities of the lessons in which the reading and analysis of the works will take place.

10. Determine the range of literary concepts that can become a means of in-depth reflection (analysis) of the selected work.

11. Based on the material of the lecture, compose 3-4 questions for an express survey.

Education of the reader in the lessons of literary reading in elementary school

1.2 Principles of organizing school analysis of a work of art

artistic creative analysis literary

Analysis of the work is the most crucial moment in the work of the teacher with the class. The task of the teacher is to bridge the gap between the perception of the text and its analysis, parsing. In the analysis of the work, certain principles are taken into account.

The principles of the analysis of a work of art are those general provisions that allow the teacher to construct methodologically competently the analysis of a specific text. They are based on the laws of perception, the specificity of the perception of works of art by children of primary school age. In the methodology, it is customary to distinguish the following principles:

· The principle of purposefulness;

· The principle of reliance on a holistic, direct, emotional perception of the read;

· The principle of taking into account age and individual characteristics of reading perception;

· The principle of creating an installation for the analysis of a work;

· The principle of the need for a secondary independent reading of the work;

· The principle of the unity of form and content;

· The principle of taking into account the generic and genre specificity of the work, its artistic originality;

· The principle of selectivity;

· The principle of integrity;

· The principle of synthesis;

· The principle of focus on improving reading skills;

· The principle of focusing on the literary development of the child, the formation of his initial literary concepts and the system of reading skills.

Let us consider these principles in relation to the organization of a literary reading lesson in primary school.

Analysis must be focused

The school analysis of each studied work pursues two interrelated goals: the deepening of individual perception and, as a consequence of this deepening, the development of an artistic idea by schoolchildren, comprehension of the meaning of the work. Three methodological conclusions follow from this position.

First, the analysis should be based on the interpretation of the work, i.e. its interpretation, a certain understanding of its meaning. The teacher can accept the interpretation of the work contained in literary works, methodological recommendations for the lesson, can base the lesson on his own interpretation.

The second is that when planning a lesson and thinking about what tasks should be solved on it, the teacher proceeds from the main goal of the lesson, understands that a work of art is an aesthetic value, and not material for the formation of knowledge and skills.

The third conclusion - the principle of purposefulness assumes that each question or task of the teacher is a step on the path of mastering the idea and the teacher understands well what knowledge the child relies on, pondering the answer, what skills are formed when performing this task, what is the place of each question in the general logical chain of analysis ...

Analysis of the text is carried out only after the emotional, direct, holistic perception of the work

This principle is associated with the organization of the primary perception of the work. The child's interest in analyzing the text, the entire course of work in the lesson largely depends on how the work was perceived by the students.

Emotionality - necessary condition primary perception, especially important for younger students. After all, children of this age are special readers: what an adult comprehends through comprehension, children learn as a result of empathy, into feeling. The efforts of the teacher should be aimed at ensuring that the emotional reaction of the student at the initial perception is consonant with the emotional tone of the work.

Immediacy of perception is also an important requirement associated with the organization of preparation for the primary perception of a work. Reading should not be preceded by any tasks in the text of the work, so as not to interfere with the immediacy of children's perception, because any question of the teacher will set a certain "focus" of consideration, reduce emotionality, and narrow the possibilities of influence inherent in the work itself.

The principle of holistic perception follows from the aesthetic approach to literature and requires that the text of the work be presented to the child completely, without adaptation, since any adaptation always leads to a distortion of the author's idea of ​​the work.

Analysis of the text should be based on age and individual characteristics of perception, expanding the area available to the child

Knowing the specifics of younger students as readers helps to plan the course of the analysis, but does not relieve the teacher from the need to check how the studied work was perceived by his students. Indeed, in the same class, children who are on different levels literary development. The purpose of this principle is to determine what the children figured out on their own and what they are experiencing difficulties, what has passed their attention, in order to make adjustments to the conceived lesson plan, to set the educational task, “starting off” from the opinions expressed by the students. The principle of taking into account children's perception should be considered in line with the idea of ​​developing education. Analysis of the text must be carried out, relying on the zone of proximal development of the child, expanding the scope of what is available. The analysis should be difficult for the child: only overcoming difficulties leads to development.

It is necessary to form the child's mindset for rereading and analyzing the text.

The analysis of the text should meet the child's need to understand what he was reading, but one of the specific features of younger students as readers is that they do not need to re-read and analyze the text. Children are sure that after the first acquaintance with the work, they "understood everything", because they do not even suspect about the possibility of a deeper reading. But it is precisely the contradiction between the actual level of perception and the potential of the meaning of a work of art that is the source of literary development. Consequently, the teacher must necessarily awaken in the young reader the need to re-read and think over the text, to captivate him with analytical work. This goal is served by the formulation of the educational problem. It is very important that the child accepts the task set by the teacher, and later learns to set it himself.

After setting the educational task, a secondary perception of the text is necessary, preceding or accompanying the analysis of the work.

This principle is characteristic precisely for the initial stage of literary education and is associated with the fact that primary school students find it difficult to navigate the text: after reading, they still have little to find the desired passage in an unfamiliar text, children are forced to re-read it from the very beginning. Since in most cases the work is read aloud by the teacher, the children must be given the opportunity to read it on their own, otherwise the analysis of the text will be replaced by a conversation about the layer of facts remembered by the children after the initial listening. Secondary independent reading leads to a deepening of perception: knowing the content of the text as a whole and accepting the educational task set by the teacher, the child will be able to pay attention to the details of the text that were not noticed earlier.

Analysis is carried out in the unity of form and content

The characteristic of this principle requires an appeal to the literary concepts of "form" and "content". Contemporary literary criticism considers a work of art as a special artistic reality created by the writer. “The content of a literary work is an organic unity of reflection, comprehension and assessment of reality. And this inextricable fusion of reality, thought and feeling exists only in the artistic word - the only possible form of existence of this content. And just as the content is not only “what is being told”, so the form is not at all reduced to “how it is being told”. Language serves as a material, not a form of a literary work. The concept of "form" is not only infinitely broader than the concept of "language of a work", since it includes an image-character, and a landscape, and a plot, and a composition and all other elements of a work, but it also has qualitative differences, since in order for the language to become an element of form, it must become a part of the artistic whole, be filled with artistic content. This implies a methodological conclusion: it is not itself that is subject to analysis. life situation depicted in the work, but how it is portrayed, how this situation is assessed by the writer. Students are required to comprehend the author's position, master the artistic idea, and not reproduce the outer layer of facts, not clarify what, where, when and with whom happened. Taking this principle into account requires the teacher to carefully consider the wording of questions and tasks.

The analysis is based on the generic and genre specifics of the work, its artistic originality

Traditionally, three types of literature are distinguished: epic, lyric and drama, and within each of the genres there are genres. A work is attributed to a certain genre on the basis of a set of substantive and formal features: size, theme, compositional features, angle of view and attitude of the author, style, etc. An experienced reader, thanks to genre memory, even before reading, develops a certain attitude towards perception: from a fairy tale he expects the obvious fiction, fantasy games, from the novel - the story of the hero's life, in the story he expects to see a description of the event, which reveals the character of the character, in the lyric poem - the image of the experiences. The analysis of the text should be based on the content and formal characteristics of the genre.

Analysis must be selective

In the lesson, not all elements of the work are discussed, but those that in this work most vividly express the idea. Consequently, the choice of the path and methods of analysis depends not only on the genre, but also on the individual characteristics of the studied work. Failure to comply with the principle of selectivity leads to "chewing" the work, a constant return to what has already been understood and mastered by students. “... Both the researcher and the teacher can and should indicate and analyze only such a number of elements, which is sufficient to demonstrate the ideological nature and composition of the work. This does not mean that they have the right to ignore this or that group of components. They must consider all of them - all groups, all categories of components. But they will select from all the groups of components taken into account for demonstrative analysis only those that implement a concretely general and unified principle inherent in the creative method of the work, which are predominantly consistent with it, follow from it, define it, ”wrote G. A Gukovsky. An artist's thought can be comprehended through an epithet, portrait, features of plotting, etc. provided that each element is considered as part of the whole. Therefore, the principle of selectivity is closely related to the principle of the integrity of analysis.

Analysis must be holistic

The integrity of the analysis means that a literary text is viewed as a single whole, as a system, all elements of which are interconnected, and only as a result of mastering these connections can an artistic idea be mastered. Therefore, each element of the work is considered in its relation to the idea. So, for example, the core of the analysis of the story "Kusak" by L. Andreev can be a reflection on how the author calls Kusaku throughout the story and why. The tragedy of a homeless dog persecuted from everywhere is visible already in the first sentence of the story: “It did not belong to anyone; she did not have her own name, and no one could tell where she was in the whole long frosty winter and what she was feeding on. " Therefore, despite numerous bruises and wounds received from people, she reaches out to a random passer-by who called her from drunken eyes the Bug. She immediately accepts this name: “The bug really wanted to come up,” the author writes. But, thrown back by the blow of the boot, she again becomes just a "dog". With the arrival of summer residents, she has a new name "Kusaka", and begins new life: Kusaka “belonged to people and could serve them. Isn't that enough for the dog's happiness? " But, the kindness of people turns out to be as short-lived as the warm summer weather. With the onset of autumn, they leave, leaving Kusaka in an empty dacha. And the author conveys the despair of the outcast Kusaka, again depriving her of her name: “Night has come. And when there was no longer any doubt that it had come, the dog howled piteously and loudly. " As you can see from the above example, the analysis of one of the elements of the work - in this case the name of the character - can lead the reader to master the idea if this element is considered as part of the artistic whole.

Analysis necessarily ends with synthesis

It is extremely important to collect together, summarize all the reflections, observations made during the lesson. Forms of generalization of the analysis results can be different: highlighting the main problems posed in the work; expressive reading, containing your own interpretation of the poem, analysis of the illustration, etc. The stage of generalization has something in common with the stage of setting the educational problem: if at the beginning of the analysis the problem was set, at the end it must be solved. In order for children not only to master the artistic idea of ​​the studied work, but also to realize the path that led them to their goal, to learn to be readers, it is necessary to summarize the lesson. At this stage, it is advisable to focus the students' attention on what methods of analysis they used to come to a new understanding of the work, what they learned in the lesson, what literary knowledge they received, what they learned about the writer, etc.

In the process of analyzing the text, the reading skill is improved

This principle is specific to the initial stage of literary education. Formation of reading skills, taking into account such characteristics as awareness, expressiveness, correctness, fluency, way of reading, is one of the tasks of elementary school. In the methodology, there are various approaches to its solution. It is possible to develop a skill through special exercises: repeated rereading, introducing five minutes of buzzing reading, reading specially selected words, texts, etc. This approach has been fruitfully developed by a number of scientists (V. N. Zaitsev, L. F. Klimanova, and others). But it is possible to improve the reading skill in the process of analyzing the work. It is important that the rereading is analytical, not reproductive, so that the teacher's questions cannot be answered without referring to the text. In this case, the child's motivation changes: he no longer reads for the sake of the reading process itself, as it was during the period of learning to read and write, but in order to understand the meaning of what he read, to experience aesthetic pleasure. Correctness and fluency of reading become a means of achieving a new, exciting goal for the child, which leads to the automation of the reading process. Conscientiousness and expressiveness of reading are achieved through the analysis of the text and involve the use of tempo, pauses, logical stresses, the tone of reading to convey the feelings and experiences of the characters, the author's position, and one's own perception of the work.

School analysis is designed to contribute to the literary development of the child, the formation of his initial literary concepts and a system of reading skills

The goal of the school text analysis as a pedagogical phenomenon is not only the development of the idea of ​​the studied work, but also the formation of the child as a person and as a reader. It is in the process of the reader's analytical activity that the assimilation of the initial literary concepts takes place. When studying each work, one observes how it is "made", what means of language are used to create an image, what visual and expressive capabilities different types of art have - literature, painting, music, etc. The child needs knowledge about the specifics of literature as the art of words as a tool that can be used in analysis. The gradual accumulation of observations on the literary text contributes to the formation of reading skills. Acquaintance with fiction forms a worldview, fosters humanity, gives rise to the ability to empathize, sympathize, and understand another person. And the deeper the read work is perceived, the more influence it will have on the student's personality.

In this way, holistic analysis works are, first of all, an analysis of its text, requiring the reader to work hard in thinking, imagination, and emotion, suggesting co-creation with the author. Only in this case, if the analysis is based on the principles discussed above, it will lead to a deepening of the reader's perception, become a means of the child's literary development.

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artistic creative analysis literary

Analysis of the work is the most crucial moment in the work of the teacher with the class. The task of the teacher is to bridge the gap between the perception of the text and its analysis, parsing. In the analysis of the work, certain principles are taken into account.

The principles of the analysis of a work of art are those general provisions that allow the teacher to construct methodologically competently the analysis of a specific text. They are based on the laws of perception, the specificity of the perception of works of art by children of primary school age. In the methodology, it is customary to distinguish the following principles:

· The principle of purposefulness;

· The principle of reliance on a holistic, direct, emotional perception of the read;

· The principle of taking into account age and individual characteristics of reading perception;

· The principle of creating an installation for the analysis of a work;

· The principle of the need for a secondary independent reading of the work;

· The principle of the unity of form and content;

· The principle of taking into account the generic and genre specificity of the work, its artistic originality;

· The principle of selectivity;

· The principle of integrity;

· The principle of synthesis;

· The principle of focus on improving reading skills;

· The principle of focusing on the literary development of the child, the formation of his initial literary concepts and the system of reading skills.

Let us consider these principles in relation to the organization of a literary reading lesson in primary school.

Analysis must be focused

The school analysis of each studied work pursues two interrelated goals: the deepening of individual perception and, as a consequence of this deepening, the development of an artistic idea by schoolchildren, comprehension of the meaning of the work. Three methodological conclusions follow from this position.

First, the analysis should be based on the interpretation of the work, i.e. its interpretation, a certain understanding of its meaning. The teacher can accept the interpretation of the work contained in literary works, methodological recommendations for the lesson, can base the lesson on his own interpretation.

The second is that when planning a lesson and thinking about what tasks should be solved on it, the teacher proceeds from the main goal of the lesson, understands that a work of art is an aesthetic value, and not material for the formation of knowledge and skills.

The third conclusion - the principle of purposefulness assumes that each question or task of the teacher is a step on the path of mastering the idea and the teacher understands well what knowledge the child relies on, pondering the answer, what skills are formed when performing this task, what is the place of each question in the general logical chain of analysis ...

Analysis of the text is carried out only after the emotional, direct, holistic perception of the work

This principle is associated with the organization of the primary perception of the work. The child's interest in analyzing the text, the entire course of work in the lesson largely depends on how the work was perceived by the students.

Emotionality is a necessary condition for primary perception, especially important for younger students. After all, children of this age are special readers: what an adult comprehends through comprehension, children learn as a result of empathy, into feeling. The efforts of the teacher should be aimed at ensuring that the emotional reaction of the student at the initial perception is consonant with the emotional tone of the work.

Immediacy of perception is also an important requirement associated with the organization of preparation for the primary perception of a work. Reading should not be preceded by any tasks in the text of the work, so as not to interfere with the immediacy of children's perception, because any question of the teacher will set a certain "focus" of consideration, reduce emotionality, and narrow the possibilities of influence inherent in the work itself.

The principle of holistic perception follows from the aesthetic approach to literature and requires that the text of the work be presented to the child completely, without adaptation, since any adaptation always leads to a distortion of the author's idea of ​​the work.

Analysis of the text should be based on age and individual characteristics of perception, expanding the area available to the child

Knowing the specifics of younger students as readers helps to plan the course of the analysis, but does not relieve the teacher from the need to check how the studied work was perceived by his students. Indeed, in the same class, children study at different levels of literary development. The purpose of this principle is to determine what the children figured out on their own and what they are experiencing difficulties, what has passed their attention, in order to make adjustments to the conceived lesson plan, to set the educational task, “starting off” from the opinions expressed by the students. The principle of taking into account children's perception should be considered in line with the idea of ​​developing education. Analysis of the text must be carried out, relying on the zone of proximal development of the child, expanding the scope of what is available. The analysis should be difficult for the child: only overcoming difficulties leads to development.

It is necessary to form the child's mindset for rereading and analyzing the text.

The analysis of the text should meet the child's need to understand what he was reading, but one of the specific features of younger students as readers is that they do not need to re-read and analyze the text. Children are sure that after the first acquaintance with the work, they "understood everything", because they do not even suspect about the possibility of a deeper reading. But it is precisely the contradiction between the actual level of perception and the potential of the meaning of a work of art that is the source of literary development. Consequently, the teacher must necessarily awaken in the young reader the need to re-read and think over the text, to captivate him with analytical work. This goal is served by the formulation of the educational problem. It is very important that the child accepts the task set by the teacher, and later learns to set it himself.

After setting the educational task, a secondary perception of the text is necessary, preceding or accompanying the analysis of the work.

This principle is characteristic precisely for the initial stage of literary education and is associated with the fact that primary school students find it difficult to navigate the text: after reading, they still have little to find the desired passage in an unfamiliar text, children are forced to re-read it from the very beginning. Since in most cases the work is read aloud by the teacher, the children must be given the opportunity to read it on their own, otherwise the analysis of the text will be replaced by a conversation about the layer of facts remembered by the children after the initial listening. Secondary independent reading leads to a deepening of perception: knowing the content of the text as a whole and accepting the educational task set by the teacher, the child will be able to pay attention to the details of the text that were not noticed earlier.

Analysis is carried out in the unity of form and content

The characteristic of this principle requires an appeal to the literary concepts of "form" and "content". Contemporary literary criticism regards a work of fiction as a special artistic reality created by a writer. “The content of a literary work is an organic unity of reflection, comprehension and assessment of reality. And this inextricable fusion of reality, thought and feeling exists only in the artistic word - the only possible form of existence of this content. And just as the content is not only “what is being told”, so the form is not at all reduced to “how it is being told”. Language serves as a material, not a form of a literary work. The concept of "form" is not only infinitely broader than the concept of "language of a work", since it includes an image-character, and a landscape, and a plot, and composition and all other elements of a work, but it also has qualitative differences, since in order for the language to become an element of form, it must become a part of the artistic whole, be filled with artistic content. This implies a methodological conclusion: it is not the life situation itself that is depicted in the work that is subject to analysis, but how it is portrayed, how this situation is assessed by the writer. Students are required to comprehend the author's position, master the artistic idea, and not reproduce the outer layer of facts, not clarify what, where, when and with whom happened. Taking this principle into account requires the teacher to carefully consider the wording of questions and tasks.

The analysis is based on the generic and genre specifics of the work, its artistic originality

Traditionally, three types of literature are distinguished: epic, lyric and drama, and within each of the genres there are genres. A work is attributed to a certain genre on the basis of a set of substantive and formal features: size, theme, compositional features, angle of view and attitude of the author, style, etc. An experienced reader, thanks to genre memory, even before reading, develops a certain attitude towards perception: from a fairy tale he expects the obvious fiction, fantasy games, from the novel - the story of the hero's life, in the story he expects to see a description of the event, which reveals the character of the character, in the lyric poem - the image of the experiences. The analysis of the text should be based on the content and formal characteristics of the genre.

Analysis must be selective

In the lesson, not all elements of the work are discussed, but those that in this work most vividly express the idea. Consequently, the choice of the path and methods of analysis depends not only on the genre, but also on the individual characteristics of the studied work. Failure to comply with the principle of selectivity leads to "chewing" the work, a constant return to what has already been understood and mastered by students. “... Both the researcher and the teacher can and should indicate and analyze only such a number of elements, which is sufficient to demonstrate the ideological nature and composition of the work. This does not mean that they have the right to ignore this or that group of components. They must consider all of them - all groups, all categories of components. But they will select from all the groups of components taken into account for demonstrative analysis only those that implement a concretely general and unified principle inherent in the creative method of the work, which are predominantly consistent with it, follow from it, define it, ”wrote G. A Gukovsky. An artist's thought can be comprehended through an epithet, portrait, features of plotting, etc. provided that each element is considered as part of the whole. Therefore, the principle of selectivity is closely related to the principle of the integrity of analysis.

Analysis must be holistic

The integrity of the analysis means that a literary text is viewed as a single whole, as a system, all elements of which are interconnected, and only as a result of mastering these connections can an artistic idea be mastered. Therefore, each element of the work is considered in its relation to the idea. So, for example, the core of the analysis of the story "Kusak" by L. Andreev can be a reflection on how the author calls Kusaku throughout the story and why. The tragedy of a homeless dog persecuted from everywhere is visible already in the first sentence of the story: “It did not belong to anyone; she did not have her own name, and no one could tell where she was in the whole long frosty winter and what she was feeding on. " Therefore, despite numerous bruises and wounds received from people, she reaches out to a random passer-by who called her from drunken eyes the Bug. She immediately accepts this name: “The bug really wanted to come up,” the author writes. But, thrown back by the blow of the boot, she again becomes just a "dog". With the arrival of summer residents, she got a new name "Kusaka", and a new life begins: Kusaka "belonged to people and could serve them. Isn't that enough for the dog's happiness? " But, the kindness of people turns out to be as short-lived as the warm summer weather. With the onset of autumn, they leave, leaving Kusaka in an empty dacha. And the author conveys the despair of the outcast Kusaka, again depriving her of her name: “Night has come. And when there was no longer any doubt that it had come, the dog howled piteously and loudly. " As you can see from the above example, the analysis of one of the elements of the work - in this case the name of the character - can lead the reader to master the idea if this element is considered as part of the artistic whole.

Analysis necessarily ends with synthesis

It is extremely important to collect together, summarize all the reflections, observations made during the lesson. Forms of generalization of the analysis results can be different: highlighting the main problems posed in the work; expressive reading, containing your own interpretation of the poem, analysis of the illustration, etc. The stage of generalization has something in common with the stage of setting the educational problem: if at the beginning of the analysis the problem was set, at the end it must be solved. In order for children not only to master the artistic idea of ​​the studied work, but also to realize the path that led them to their goal, to learn to be readers, it is necessary to summarize the lesson. At this stage, it is advisable to focus the students' attention on what methods of analysis they used to come to a new understanding of the work, what they learned in the lesson, what literary knowledge they received, what they learned about the writer, etc.

In the process of analyzing the text, the reading skill is improved

This principle is specific to the initial stage of literary education. Formation of reading skills, taking into account such characteristics as awareness, expressiveness, correctness, fluency, way of reading, is one of the tasks of elementary school. In the methodology, there are various approaches to its solution. It is possible to develop a skill through special exercises: repeated rereading, introducing five minutes of buzzing reading, reading specially selected words, texts, etc. This approach has been fruitfully developed by a number of scientists (V. N. Zaitsev, L. F. Klimanova, and others). But it is possible to improve the reading skill in the process of analyzing the work. It is important that the rereading is analytical, not reproductive, so that the teacher's questions cannot be answered without referring to the text. In this case, the child's motivation changes: he no longer reads for the sake of the reading process itself, as it was during the period of learning to read and write, but in order to understand the meaning of what he read, to experience aesthetic pleasure. Correctness and fluency of reading become a means of achieving a new, exciting goal for the child, which leads to the automation of the reading process. Conscientiousness and expressiveness of reading are achieved through the analysis of the text and involve the use of tempo, pauses, logical stresses, the tone of reading to convey the feelings and experiences of the characters, the author's position, and one's own perception of the work.

School analysis is designed to contribute to the literary development of the child, the formation of his initial literary concepts and a system of reading skills

The goal of the school text analysis as a pedagogical phenomenon is not only the development of the idea of ​​the studied work, but also the formation of the child as a person and as a reader. It is in the process of the reader's analytical activity that the assimilation of the initial literary concepts takes place. When studying each work, one observes how it is "made", what means of language are used to create an image, what visual and expressive capabilities different types of art have - literature, painting, music, etc. The child needs knowledge about the specifics of literature as the art of words as a tool that can be used in analysis. The gradual accumulation of observations on the literary text contributes to the formation of reading skills. Acquaintance with fiction forms a worldview, fosters humanity, gives rise to the ability to empathize, sympathize, and understand another person. And the deeper the read work is perceived, the more influence it will have on the student's personality.

Thus, a holistic analysis of a work is, first of all, an analysis of its text, which requires the reader to work hard in thinking, imagination, and emotion, which presupposes co-creation with the author. Only in this case, if the analysis is based on the principles discussed above, it will lead to a deepening of the reader's perception, become a means of the child's literary development.