Aestheticization of the environment of an educational institution. Artistic and aesthetic environment
Tatyana Ulyumzhaeva
Artistic and aesthetic environment
To organize both joint and independent activities of pupils, aimed at their diversified development in accordance with the new requirements, I organized in my group Wednesday, which promotes the emotional well-being of children, taking into account their needs and interests.
Our children are active and very mobile, so I tried to create conditions for providing various types of activities (playing, intellectual, artistic, productive, communicative, creative, musical - theatrical, etc.).
Pupils of our group willingly cooperate with adults in practical matters (labor assignments, making theatrical attributes, caring for flowers) and at the same time actively strive for knowledge.
Children are very creative, emotional, they like to draw, sculpt, do crafts, play music on their own, play out fairy tales.
Kindergarten is cute, kind, smart, funny, noisy. wonderful children. Everything we do in our kindergarten, we do for them, for them to grow and develop.
Subject-developing Wednesday in our group allows you to organize both joint and independent activities of children aimed at the self-development of the child under the supervision and support of the educator. In this case Wednesday performs educational, developing, educating, stimulating, organizational, communicative functions. But most importantly, she works to develop the independence and initiative of children. Organization of developing environments in our group is built in such a way as to enable the most effective development of the individuality of each child, taking into account his inclinations, interests, level of activity.
The organization of activity centers was based on the principles of development and integration.
1. The principle of distance. Face-to-face communication between an adult and a child.
2. The principle of activity. Participation of children in the creation of their objective environment.
3. The principle of stability. It is implemented with the help of furniture mobility, changing the corners in accordance with the age of the children.
4. Flexible zoning, allowing children to engage in different activities at the same time, without interfering with each other.
5. The principle of "gender and age differences" as an opportunity for girls and boys to show their inclinations in accordance with the standards of masculinity and femininity accepted in our society.
Educational Wednesday Our group was created taking into account the above principles. I enriched Wednesday in their group with such elements that stimulate the cognitive, creative activity of children. The maintenance of the equipment and materials correspond to a certain age. Their placement, layout have free access and the ability to work with materials not only where it is located, but also the ability to move it, depending on the desire of the children. (on the table, floor, wall).
Such a construction environments gives children a sense of psychological security, helps the development of personality, abilities, mastery different ways activities. Creating a developing Wednesday, age and individual characteristics of children, as well as the requirements and norms of SanPiN were taken into account.
Subject-developing Wednesday the group is organized taking into account the integration of educational regions:
The physical direction is represented by educational areas: "Physical Culture" (center of physical development); "Health" (health preservation center); "Safety" (traffic rules and fire safety
Cognitive-speech direction is represented by educational areas: "Cognition", "Communication", "Reading fiction", which include centers: "Young builder", "Learning to design", "Znayka's Laboratory", "House for books".
The social and personal direction includes the areas "Socialization" and "Labor" (Game center, labor center)
- artistically- the aesthetic direction of the development of children is realized through the integration of educational regions: "Music", " Artistic creativity".
The educational area "Music" includes a theatrical center and a music center.
The theatrical center is an important object of the subject-developing environments, since it is theatrical activity that helps to adapt, unite the group, unite children with an interesting idea. The educational possibility of theatrical activity is wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds; develops and improves speech, activates sound culture speech, its intonational structure, playing its appropriate role, the child involuntarily exercises in a clear, clear explanation. Along with the corner "Playing theatre", "Dresser", we equipped the corner of emotional and volitional development, which contributes to the emotional well-being of children, taking into account their needs and interests.
In the corner "Playing theater" there are various types of theaters: tabletop, theater on flannelgraph, planar; props for playing scenes, fairy tales and performances; a set of puppets, a screen for a puppet theater.
Nearby is a bright, cheerful corner "Dresser", where you can dress up as your favorite fairy-tale characters, which develops the creativity of children. There are elegant things, wide-brimmed hats, skirts, scarves, trousers.
To implement gender approaches to raising children, we took into account the interests of boys and girls, selected various attributes for staging different fairy tales (gender-role).
Theatrical activity in the group is one of the favorite activities of children, it gives positive results influencing the personality of the child, which was repeatedly noted by the parents of the group.
Children need to be given the opportunity to engage in creative music-making, to consolidate their skills and abilities with the help of musical and educational games. To achieve this goal, we diversified the music center in the group.
Musical toys are most often used in story and didactic games. In the corner there is a small shelf for storing musical aids, a table with chairs for independent music-making and board didactic games.
In the center is a tape recorder with recordings of classical, folk, modern music: sounds of the forest, sea, various fairy tales.
Educational area " Artistic creativity"represented by the center "Magic brush". To enhance interest in activities, the materials are located at the level of the children's eyes, aesthetically attractive. Location and systematization (in boxes, on shelves) makes it easier for children to get started. For development artistically-aesthetic perception The Center for Fine Arts is equipped with objects of folk art (3-4 items of different folk crafts - Dymkovo, Khokhloma, Gorodets). The Center has children's books. We use illustrations appropriate for the age capabilities of children. Books in the Center for various purposes (toy books, coloring books).
A variety of visual materials is located in the space accessible to children; these are not only pencils and various papers, but also wax crayons; gouache paints and felt-tip pens; plasticine and molds for stucco. The presence of various techniques of visual activity, algorithms for performing work, samples of genre painting and arts and crafts are provided.
Children need a positive assessment of the results of their activities. Therefore, the group has equipped places for organizing individual exhibitions, collective and joint work with parents.
When organizing the center, the interests of boys and girls are taken into account (coloring pages, stencils, various materials, didactic aids).
The purpose of the center of creativity is the formation of the creative potential of children, the development of interest in art, the formation of aesthetic perception, imagination, artistically- creativity, independence, activity. In this center, children usually spend a lot of time drawing, coloring, creating crafts from plasticine, cutting out paper, looking at reproductions of paintings.
One of the main tasks of teachers is to instill in children respect for the book, develop the ability to communicate with it, love for artistic word, in a word, everything that forms the basis of the education of the future "talented reader". Magic world books. In this center, children are happy to join the verbal art, children develop artistic perception and aesthetic taste.
"World of the Book" in our group, it is located so that any, even the smallest child, can reach out with his hand and take the book he likes without outside help when he wants to do it.
Kindergarten is parents. They are the main assistants in our work and we are very grateful to them for this.
Kindergarten - special institution, it is practically a second home for its employees and children. And you always want to decorate your house, make it cozy and warm, unlike others, so that everyone in it feels comfortable, experiences positive emotions. Therefore, in my work I pay great attention to subject-developing environment, especially its developing character. Enriched it with such elements that stimulate the cognitive, creative activity of children. The maintenance of the equipment and materials correspond to a certain age. Their placement, layout have free access and the ability to work with materials not only where it is located, but also the ability to move it, depending on the desire of the children. (on the table, floor, wall).
Advice for educators.
Developing object-spatial environment - necessary condition for artistic aesthetic development child.
We, adults and children, are constantly confronted with artistic and aesthetic phenomena: in the sphere of spiritual life, everyday work, communication with art and nature, in everyday life, in interpersonal communication - everywhere the beautiful and the ugly, the tragic and the comic play a significant role in our lives. In our time, the problem of artistic and aesthetic development, the development of the personality, the formation of its aesthetic culture is one of the most important tasks facing education in general and preschool education in particular.
The artistic and aesthetic development of preschool children is a purposeful process of forming creatively active person a child capable of perceiving and appreciating beauty in life and art.
The tasks of the artistic and aesthetic development of preschool education in accordance with the Federal State Educational Standards are:
Development of the prerequisites for value-semantic perception and understanding of works of art (verbal, musical, visual), the natural world;
The formation of an aesthetic attitude to the world around;
Formation of elementary ideas about the types of art;
Perception of music, fiction, folklore;
Stimulation of empathy for the characters of works of art;
Realization of independent creative activity of children (fine, constructive-model, musical, etc.).
The main means of artistic and aesthetic development are:
∗ Developing subject-spatial environment;
∗ Works of art;
* Nature;
∗ educational activities;
∗ Independent artistic activity of children;
∗ Holidays, entertainment, leisure, exhibitions.
The design of the developing subject-spatial environment is designed to teach the child to feel and understand the beauty of life, to educate in him the desirecreate and protect it. The artistic design of a preschool institution is determined by the content educational work, requirements for the protection of life and health promotion, its artistic development. Cleanliness and order are not only hygienic, but also aesthetic requirements for the interior of the kindergarten. It is important that the design is stylistically consistent. In the design of the premises, you can use drawings of children, parents, educators. The design of the kindergarten site must also meet the relevant hygienic and aesthetic requirements.
Already from the first steps of a small person, from his first words, actions, the artistic and aesthetic education of the individual takes place. Nothing but the environment leaves an imprint on his soul for life.
Having barely mastered the elementary movements, the baby pulls his hands to a beautiful, bright toy and freezes when he hears the sounds of music. Having matured a little, he examines the illustrations in the book, saying: "beautiful", and he himself tries to create beauty that only he understands on paper with a pencil. Therefore, the design of group rooms must be given great importance.
When creating a developing subject-spatial environment, it is necessary to be guided by the general principles defined in the Federal State Educational Standard of preschool education:
Medium saturationmust correspond to the content of the educational program developed on the basis of one of the exemplary programs, as well as to the age characteristics of children.
The organization of the educational space should ensure the playful, cognitive, research and creative activity of all pupils, experimentation with materials accessible to children, motor activity, emotional well-being.
Transformabilitysuggests the possibility of changing the object-spatial environment, allowing to bring to the fore one or another function of space, depending on the interests and capabilities of children.
Polyfunctionalitymaterials include:− the possibility of various use of the components of the subject environment (children's furniture, mats, soft modules)− The presence of polyfunctional items that are not rigidly fixed, suitable for use in various types of children's activities (for example, natural materials)
Environment variabilityinvolves the periodic replacement of the game material, the emergence of new items that stimulate the artistic, aesthetic, cognitive, gaming, physical activity of children.
Environment Availability- this is free access to all games, toys and materials, manuals.
Environment securityassumes the compliance of its elements with the requirements for ensuring reliability and safety.
The developing object-spatial artistic and aesthetic environment (V. V. Davydov, L. P. Pechko, V. A. Petrovsky) should be:
Replaceable, variable, dynamic, should include a variety of components that contribute to the formation of various types of activities;
Interconnected with all its parts and environment, holistic, which will allow children to freely engage in various activities, interact with each other;
It should not be complete, frozen, it should be periodically transformed, taking into account the specifics of children's perception, to stimulate the activity of children;
Actively include children in the creation of the environment, this contributes to the formation of a conscious attitude of the child to the environment, comfort for all children and adults of the group of the children's institution, the desire and ability to coordinate their desires and interests with others;
It should be organized so that the materials and equipment necessary for children to carry out any activity are in the field of view of the child, available so that he can take them without turning to an adult for help.
Order in everything provides comfort and beauty, pleases the eye, creates good mood, - materials may be needed for classes by other children or the same child;
It must correspond to the age, gender, psychophysiological characteristics of children.
A huge role in the artistic and aesthetic development is played by works of art. They are used in the design of a preschool institution, during training, independent activities. For this purpose, select:
Works of household and fabulous painting (portraits, still lifes, landscapes),
Graphics (prints, engravings, book illustrations),
Small forms of sculpture (faience, plaster, wood products),
Works of arts and crafts (ceramics, artistic glass, folk decorative, etc.).
A variety of activities in kindergarten are necessarily accompanied by music (morning exercises, leisure, etc.).
Growing up among nature, the child learns to see the harmony, beauty, richness of colors of each season, reproduce his impressions in oral stories, drawings, etc. All this is accompanied by the teacher's stories that nature is a powerful and perfect creator of beauty, painters draw inspiration from it , composers, writers, using their works (for example, "The Four Seasons" by P. Tchaikovsky, reproductions of paintings by I. Shishkin, etc.). Excursions to nature are effective, because the experiences experienced by the child in preschool age impressions leave a mark on his whole life. It is important for the teacher to choose such words to accompany the observation that would meet the objectives of artistic and aesthetic education.
Educational activities
∗ The formation of ideas about beauty, the skills of artistic and creative activity, the development of aesthetic assessments, experiences and tastes contributes to special education preschoolers in kindergarten. To do this, they use educational activities in all areas of artistic and aesthetic development, the joint activities of teachers with preschoolers, didactic games, holidays, matinees, excursions, walks, performances, etc.
Direct educational activities:
Visual activity;
Music;
Reading fiction.
A necessary condition for the successful development of children's abilities is to provide them with great freedom in choosing activities, in alternating tasks, in the duration of doing one thing. Independent artistic activity of children is an important means of aesthetic education of preschoolers. In the process of artistic activity, they realize their creative ideas, inclinations, which can subsequently develop into the ability for artistic creativity.
The following factors stimulate the development of independent artistic activity:
The process of learning in the classroom, its developmental nature, the formation of methods of independent action;
Artistic impressions of children, encouraging them to further incarnation in activities;
Pedagogically appropriate aesthetic subject environment;
Encouraging influence of parents who stimulate creative searches and attempts of children;
The indirect influence of the teacher, who initiates an independent search for children.
For the development of independent artistic activity in the group, special zones (centers) are created with the necessary equipment, materials that children can freely use. At the same time, the teacher takes care of the diversity of children's activities, the combination of various types of artistic activity: visual, artistic and speech, theatrical and gaming, musical.
However, in the independent activity of children, the role of an adult takes place. It consists of benevolent unobtrusive help.
Holidays organized in the kindergarten form children's ideas about everyday and holidays, bring up attention and love for the people around them.
Holidays, leisure, entertainment, exhibitions are associated with bright aesthetic experiences children, the desire to test themselves in different genres art. Preparation for the holiday, the participation of children in the creation of its program, the conditions for holding it, the expectation of the festive action form a special pre-holiday collective mood. Parents of children are involved in the preparation and celebration, which gives them emotional warmth.
A special role belongs to exhibitions of parent-child creativity, which allow expressing the aesthetic feelings and aspirations of not only preschoolers, but also adults.
Not less than important side content of artistic - aesthetic development is its focus on the personal development of preschoolers.
First of all, it is necessary to form in preschoolers aesthetic needs in the field of art, the desire to comprehend the artistic values of society. The most important element content of artistic and aesthetic development isbring up e preschoolers have artistic perceptions.
Perception is mental process conscious, personal, emotional comprehension and comprehension of a work of art. These perceptions must cover a wide range of aesthetic phenomena. It is necessary to perceive the beautiful not only in literature, fine arts and music, but also in nature, as well as in the surrounding life. The child perceives artistic images in his own way, enriches them with his own imagination, correlates them with his personal experience. One of the main tasks of the teacher in this direction is the development of emotional responsiveness. Through empathy, complicity, “entering the image”, the foundations of the artistic and aesthetic culture of the personality of a preschooler are formed.
An essential component of artistic and aesthetic development is the acquisition of knowledge by preschoolers related to the understanding of art and the ability to express their thoughts and feelings in relation to them.
The main goal of the artistic and aesthetic development of preschoolers is:
Development of the ability of artistic vision of the world;
Introduction to the world of art;
Development of artistic and creative abilities
The artistic and aesthetic development of the child involves the creation of the following conditions:
Enrichment of the child's sensory experience in all types of activity;
Organization of artistic activities appropriate for this age: musical, visual, theatrical, artistic design, plot-role-playing and director's play;
Giving the child the opportunity to choose the type of activity, plots, materials and means of embodying the artistic concept;
Support for children's spontaneity, encouragement, stimulation of the child's fantasy and imagination.
Aesthetic development is associated with the formation of all facets of personality. At preschool age, the foundations of needs and tastes are formed, a love for art is born, and creative abilities manifest themselves, with which every child is endowed to varying degrees. For their implementation, properly organized upbringing and education is necessary, which takes into account the characteristics of the age, the individuality of the child.
Creation of artistic aesthetic environment provides the child:
Feeling of psychological security, trust in the world, joy of existence;
Intellectual and aesthetic development;
Opportunities for self-expression in musical activity;
Social adaptation (harmonization of relations with society).
The created developing object-spatial environment evokes a sense of joy in children, an emotionally positive attitude towards kindergarten, a desire to attend it, enriches it with new impressions, encourages active creative activity, and contributes to the intellectual and social development of preschool children.
The architectural and planning and object-spatial solution of the school building allows you to get a clear idea of the way of life of this school, the features of its educational system. The results of the environmentalists' analysis of children's reactions to their immediate physical environment - the architecture and design of the school building - led to the need (unfortunately, only in some institutions) to brightly paint the walls in the classrooms, lay carpets in the corridors and halls, lay out green lawns in front of the entrance to the school .
28. The life of the school as an educational organization. B yt - a companion, the basis of everyday life. Its structure and quality characteristics can promote or hinder the development and self-realization of a person. The variety of human characters, temperaments, inclinations, tastes, aspirations and desires determine the diversity of life. Life of an educational organization (A.V. Mudrik) - spatial, material, temporal and spiritual conditions for social activities of its members, as well as natural, necessary and customary norms and values of behavior and interaction. The life of an educational organization is characterized by: Architectural and planning features of the premises; Organization of the object-spatial environment; Its well-being and technical equipment; Mode of life; A number of traditions that have developed in the organization. Children are sensitive to both volume and geometry of space. With the help of simple tricks of his reorientation, you can create unexpected sensations in them and increase their interest in what is happening at school. Various forms the work of children in the lesson requires one or another type of placement of desks. It is necessary to use non-traditional seating arrangements in the classroom in order to increase the opportunities for those who prefer the “facing the teacher” position, and also in order to avoid creating large “dead zones”. The size of the school should be optimally combined with the number of students, because . in case of non-compliance: Inconvenience of training in two or three shifts; Lack of the emotional and psychological climate necessary for the normal full development of pupils (“emotional and psychological development zone »).
32. The main areas of school life: communication, knowledge, subject-practical activities, sports, games. Vital activity is an interconnected set of various types of work that ensures the satisfaction of the needs of a specific person, team, group, taking into account the requirements and needs of the wider social environment and the whole society. Schoolchildren's communication is an exchange of spiritual values (generally recognized and specific for the age and gender value orientations of students), which takes place in the form of a student's dialogue with himself as with another "I", as well as in the process of interaction with other people. This exchange is characterized by age-related features. It has both a spontaneous and, to a certain extent, pedagogically directed influence on the formation and life of a person, a group. Cognition (activity is aimed at understanding the world around) Subject-practical activity (in which activity is realized in work) Spiritual and practical activity (activity is associated with the creation of spiritual and social values) Sports (where functional-organic activity is realized) Game (activity is realized in free improvisation in conditional situations
48 Principles social education in a school class. From the definition of social education it follows that it is primarily a purposeful activity of the teacher. What principles should he be guided by in this activity? From this it follows that the principles of education are the core that holds and connects the theoretical, psychological and methodological components of education. Considering that social education is carried out in the school class, we will give the following definition: the principles of social education - these are the main, conceptual provisions that reflect the pedagogical beliefs and attitudes of the educator and help him to put into practice the educational process.
The principle of humanistic orientation of education;
The principle of centering social education on personality development
The principle of collectivity of social education in the classroom
The principle of dialogue of social education in the classroom
The principle of natural conformity of social education in the classroom
The principle of cultural conformity of social education in the classroom
The principle of the incompleteness of education
60.Socializing functions of the class, contributing to the adaptation of the personality of schoolchildren. 1. The educational function is performed by the class as the "working body" of the educational institution and is associated with the first, most historically established and understandable "face" of the class. Consider this traditional function with modern point vision. Thus, the educational function of the school class is carried out by them primarily in the learning process. But besides this, it is also realized through education in extracurricular educational work and informal communication within the class, as well as in the process of more or less targeted stimulation of the student's self-education, if knowledge is a generally accepted value in the class. Realizing educational function, the class introduces the student to the culture of society through socially significant knowledge and skills, forms his experience in acquiring and using this knowledge. 2. Communicative function. Being a socio-psychological group, the class also forms another experience, no less important for a growing person, related to business and interpersonal communication. According to X. J. Liimets, communication is an exchange of spiritual values between people. However, values are not transferred in finished form, they are, as it were, dissolved in the thoughts, feelings and actions of people. Therefore, we can give the following definition of communication between schoolchildren: communication between schoolchildren is an exchange (in the process of their direct contact) of information, ideas, emotions and actions, reflecting a deeper exchange of norms and values. Within the framework of the class, communication between schoolchildren can proceed both spontaneously and, to one degree or another, purposefully, in an organized manner, under pedagogical guidance. This applies both to business communication, characteristic of the life of a class as a formalized group, and to informal, characteristic of interpersonal relations. But at the same time, it is obvious that organization and purposefulness are more inherent in business communication, and spontaneity is informal. Moreover, as a sphere business communication class can be considered only if pedagogical conditions are created in it, situations of such communication: collective and group work in the classroom, collective planning and collective analysis of the life of the class, the interaction of classmates in the process of performing common, significant for them extracurricular activities, etc. 3. The relational function of the school class, called N.L. relations. If we follow the logic of I. A. Zyazyun, this function can be considered an integral continuation of the communicative, its internal component. The essence of the relational function of social education and the role of the teacher in its implementation can be revealed with the help of the statement of A. S. Makarenko: the most complex world surrounding reality, the child enters into an infinite number of relationships, each of which invariably develops, intertwines with other relationships, is complicated by the physical and moral growth of the child himself. All this chaos seems to be beyond any calculation, nevertheless ... direct this development and guide it is the task of the educator. This function in a broad sense is to correct the student's personal relationship to the world and with the world, to himself and with himself. This correction takes place in the process of building humane, democratic relations within the class, in which the student is included as an active subject of activity and communication. Thus, the success of the implementation of the relational function depends on the success of the communicative function: if the sphere of communication of the class is poor, if classroom teacher does not include his children in various types of interaction, it is difficult to count on the correction and humanization of their relations. should feel quite comfortable - this is undoubtedly one of the main conditions for his adaptation in the classroom. The implementation of the protective function of the class, on the one hand, is not possible without creating an experience of common care, mutual support and attention for children to each other, and on the other hand, it contributes to the experience successful self-realization each of them, creates an example of humane relations, forms an optimistic view of the surrounding reality. Thus, we have shown that this class function not only depends on the relational function, but also determines its success to a large extent. 5. Value-normative function. The essence of this function of the school class lies in the fact that in the process of communicating with classmates, the student, to one degree or another, appropriates, absorbs the norms and values accepted in the class. Values are internal, meaningful characteristics of a person, but most often they arise during the transition of the external to the internal, i.e. in the process of internalizing the values of the people around the student and the world as a whole. This means that the task of the class is to ensure the success of such internalization, and this, according to the principle of cultural conformity, depends on three conditions: 1) whether there is a stable value core in the culture of the class, which includes those accepted by all classmates (or their majority) certain spiritual and social values; 2) what values make up this core, to what extent they correspond or contradict universal humanistic values; 3) how significant the class is for a particular student, i.e. whether he is a reference group for him (recall that the reference group for a person is people with whose values, opinions and assessments he correlates his own). You need to take into account all these three conditions and create specially for the successful implementation of the value-normative function of your class. The term “norm” is most often used to refer to external manifestations values of a person, to his behavior and interaction with others. Consequently, the norms are more mobile and less stable than the values with which they are in a complex relationship. On the one hand, the values that reflect the inner, spiritual world of the student, his essence, largely determine the norms of his behavior, and on the other hand, the norms mastered by him influence the internalization of the corresponding values. 6. Emotive function. The success of all the above functions of the class in relation to a particular student implies an emotional experience by him of both educational and cognitive activities, and communication with peers and adults, and developing relationships with them, and those values and norms that he accepts as a member of the group. The diverse social experiences that the student has in the classroom evoke just as diverse feelings, which leads to the development of his emotional sphere. At the same time, the class plays the role of a kind of catalyst for this process, since the so-called emotional infection associated with the general moods and feelings of the children is especially pronounced in the children's community. Thus, listed features school class (educational, communicative, relational, protective, value-normative and emotive) ensure the successful social adaptation of the student, shaping his experience of acquiring and using socially significant knowledge, constructive communication with people, building humane relations with them, adequate behavior, empathy and value orientation. This conclusion correlates with the following definition given by A. V. Mudrik: individual social experience is a synthesis of various kinds of imprinted sensations and experiences, knowledge, skills, ways of communication, thinking and activity, behavioral stereotypes and internalized value orientations. This definition and the one given above conclusion allow us to assert that the school class is able to become a sphere for the formation of almost all components of the student's individual social experience, which, in turn, ensures (to a large extent) his social adaptation, as in today's school life, as well as in the future. We note two more important points: firstly, the close relationship of all the considered functions, and secondly, the need for purposeful educational activities for their positive implementation.
61. Socializing functions of the class, contributing to the isolation of the personality of schoolchildren. Undoubtedly, the first group of socializing functions of the class contains in an implicit form the conditions for the isolation of the student, but it is advisable to consider these functions of the class separately.
First of all, we consider the isolation functions that have more explicit connections with the first group. They include two functions:
The function of autonomizing children from adults
The function of autonomization from the society of peers
The function of autonomizing children from adults. The school class, like any children's community, has an internal desire for relative isolation and isolation, primarily from the world of adults. This is especially pronounced in adolescents: on the one hand, the world of adults is a kind of attractive landmark for them, and on the other hand, it is one of those "elements" that threaten their freedom and independence. Note that this negative second side is quite often personified by teachers and parents for teenagers.
To what extent does the function of autonomization of children from adults contribute to the development of the student's personality? It can be assumed that the need for isolation from adults is inherent in the child by nature and at a certain stage of his growing up becomes aggravated and looks for a way out. If you suppress this need and unceremoniously destroy the fragile barriers that the child surrounds himself with, you can provoke either obvious aggression or the development of conformism and hypocrisy. J.J. Rousseau rightly noted in his time: “Nature wants children to be children before they become adults ... Children have their own way of seeing, thinking and feeling, and there is nothing more reckless than wanting to replace it with ours .. ."
This statement confirms the importance of separating a child from adults, but this natural need is by no means always satisfied by children positively: after all, “one’s own way of thinking and feeling”, as well as acting, is born in the souls of the weak, who do not have a stable moral core and life experience. Therefore, it is much more expedient not to suppress and ignore the need for isolation, but to direct it in a direction more favorable for the development of the individual, which a wise teacher in the school class can “lay”. It is the educator-teacher who knows the laws of childhood and who, unlike other adults, is able to take these laws into account, and it is precisely in the classroom where destructive forms of child isolation can be prevented and corrected.
Thus, the considered function of the school class contributes to the formation of the cohesion of pupils and the development of their subjective position in the event that isolation from adults within the class does not have an aggressive and senseless character.
The function of autonomization from the society of peers. If the class is sufficiently cohesive, then a stable feeling of We is manifested in it, which separates the schoolchildren included in it not only from adults, but also from other peers, from the school as a whole. This feeling plays a dual role: on the one hand, it characterizes the class as a psychological "niche" in which the student feels "at home among his own", that is, better or at least no worse than in some other environment.
Indeed, feeling one's "I" as an integral part of a meaningful "We" is extremely important for every child, especially for a teenager. And if it is very problematic for many schoolchildren to feel such belonging at the level of a school (especially a giant school), then it is much easier to satisfy this need at the level of a closer community - one's own class. “To be like everyone else” is a necessary step for the subsequent “to be different from everyone else”, i.e. isolation of the student together with the class helps him in further individual isolation.
Next function school class takes special place in a number of its socializing functions, since thanks to it their kind of integration occurs; It is this function that contributes to the isolation of the student as much as possible. Let's dwell on it in more detail.
Stimulating function of the school class. To consider this function, it is necessary to dwell on the age-related developmental tasks that are solved by a person at each stage of his socialization. A.V. Mudrik identifies three groups of such tasks:
1. Natural and cultural tasks associated with the achievement of a certain level of physical development of a person reflect his formation as biological being in the process of cultural satisfaction of physiological needs.
2. Socio-cultural tasks determined by society as a whole, by the ethnic group and the nearest human society, reflect the development of its cognitive, moral and value-semantic spheres.
3. Socio-psychological tasks include the development of needs and abilities for self-knowledge, self-determination, self-realization and self-rehabilitation of the individual.
Let's consider the components of the last task in more detail.
Self-knowledge of a schoolchild is the process of the formation of his self-consciousness, the formation of his “I-concept” (or “I-image”), integrating in himself the relationship to himself and with himself.
Self-determination of a student is a reasonable choice of a certain position, goals and means of self-realization in various situations and spheres of life.
Self-realization of a student is a manifestation of his activity in the process of satisfying his interests and needs, the desire for a more complete development of his personal capabilities.
The result of self-realization may be a more or less successful self-affirmation of the student in his own eyes and in the eyes of others.
Finally, under the self-rehabilitation of a student we will understand the process and result of achieving a certain psychological balance and comfort.
These tasks constitute the objective content of a person's socialization and must be addressed throughout his life in accordance with the specifics of age. Solving them makes a person the subject of his development, but this requires experience. successful solution these tasks at the very beginning of life - in childhood and adolescence. It can be assumed that it is the school class that is able to help each growing person in acquiring such an experience, to stimulate his formation as a subject, i.e. its positive isolation. Below we will try to substantiate this assumption, but for now we note that the implementation of this function depends on the successful implementation of all the functions of the school class we have considered.
Thus, the following conclusions can be drawn:
Objectively, the class is an important factor socialization of the student and performs both adaptive and separating functions in relation to him, forming a certain social experience;
The influence of the class on the socialization of the student can be different - from the most positive to the most negative;
The positive implementation of the socializing functions of the class, which contributes to the development of the student's personality, most often does not occur by itself, but requires thoughtful activity of teachers;
Carrying out this activity, it is necessary to remember the mutual influence and interdependence of the socializing functions of the class, so the teacher must strive for their reasonable balance and harmony.
Particular attention is paid to the creation of an aesthetic developmental environment in all premises of the preschool educational institution and in the classroom in all sections of educational work. Features of the developing aesthetic environment in the classroom are determined the following factors: the content and methodology of conducting classes, the place of their organization (group room, hall, kindergarten area, studio), age characteristics children.
The developing environment includes visual materials and aids that are used to expand and clarify ideas about the objects and phenomena that children have to portray, to develop figurative perception, mastering the means of expressiveness of the image; the aesthetic environment is also made up of visual materials and equipment for drawing, modeling, and appliqué; features of the working area. All this should be thought out from the standpoint of compliance not only with the tasks being solved, but also with the requirements of beauty. The environment should develop aesthetic feelings, arouse the desire to engage in visual activity, form the desire to take care of everything that surrounds children in the classroom.
In the organization of the environment for visual activities, the use of works of fine art, including folk art, is envisaged. At the same time, it is necessary to observe the measure in everything.
The developing aesthetic environment is formed by creative work children. They should be exhibited in a group room, studio, hall. Such an environment is of great educational value. Children, having seen their drawing (modeling, application) among the works of their comrades, get the opportunity to compare them. In addition, they feel more comfortable already because their work is exhibited among others.
Aesthetically designed environment is considered by us widely. For artistic and aesthetic education, the environment of the preschool institution as a whole is of great importance, i.e. the design of all its premises, the organization and equipment of the site where children walk, play and study. The environment outside the preschool institution is also important: natural objects, residential buildings, and other structures; at the same time, the educator himself must be able to see the beauty and show it to the children.
ART ACTIVITIES
Visual activity (drawing, modeling, application) is included in the pedagogical process of a preschool institution from the first junior group. Leading it, it is important to remember the common age groups conditions necessary for the successful mastery of visual activity by children and the development of their creativity.
1. Formation of sensory processes, enrichment of sensory experience,
clarification and expansion of ideas about those subjects, objects and phenomena
niyah, which they have to portray.
2. Taking into account the individual characteristics of children, their desires and interests.
3. The use of children's work in the design of kindergarten premises, the organization of various exhibitions, as well as for gifts to children and adults. Preschoolers should feel: their drawings, modeling, appliqué arouse the interest of adults, they need them, they can decorate Kindergarten, apartment, house where they live.
4. A variety of subjects for children's work, forms of organization of classes (creation of individual and collective compositions), art materials.
5. Creation of a creative, friendly environment in the group, in the classroom for visual activity and in free art activity. Respect for children's creativity.
6. Accounting for national and regional characteristics in the selection of content for drawing, modeling, and appliqué.
One of the important tasks of artistic and creative activity is to teach children to evaluate their own works and the works of their peers, to highlight the most interesting visual solutions in the works of others, to express aesthetic assessments and judgments, and to strive for meaningful communication related to visual activity. Solving this problem, the teacher should activate the children by asking them questions that stimulate the choice of the work they like most (“Which fashioned chicken did you like? What did you especially like?”). After listening to the opinions of the children, the teacher gives his assessment and argues it.
Organizing work with children aimed at mastering their visual activity, teachers are engaged in enriching the pedagogical process with effective methods and techniques; obsolete patterns and stereotypes should be avoided (for example, the assertion that for each lesson the educator should prepare samples - his own drawings, modeling, appliqués)
cations. Folk toys, illustrations in children's books, etc. can be used as samples).
Creativity should be taught to children, but this teaching is special. It should include educational and creative tasks, a proposal to supplement the created images with interesting details. The educator should not get involved in direct demonstration (especially in the child's drawing). After examining the objects and objects that the child will draw, sculpt, cut and paste, he should be invited to think and show how it can be drawn, sculpted, etc.
First junior group
The most accessible types of visual activity for children of this age are drawing and modeling. Interest in drawing is manifested in children early. Watching how parents, older brothers, sisters act with a pen, a pencil, the kids also try to pick up a pencil and drive it over paper. This manifests a desire characteristic of children to perform actions without the help of an adult, curiosity, interest both in the activity itself and in its result.
Painting. It is important to arouse interest in children in actions with pencils, paints, felt-tip pens. Therefore, you should pay their attention to the fact that a pencil, brush, felt-tip pen leave a mark on paper, if you draw on it with the sharpened end of the pencil, brush. It is important that the child follows the movement of the pencil on the paper, paying attention to the strokes applied to the paper. For this, it is advisable for the educator, together with the child, to consider the results of actions with a pencil, felt-tip pen, brush, draw along lines drawn on paper, strokes with the fingers of one or the other hand, ask what it is, what it looks like. It is necessary to bring children to an understanding of what they draw with a pencil; evoke a sense of joy from the strokes and lines that they made themselves; draw their attention to the color of pencils, felt-tip pens and the resulting lines and configurations.
Gradually, drawing the attention of children to the "drawing", it is necessary to teach them to find the similarity of the strokes and lines obtained on paper with the surrounding objects, to offer to name what they drew, answering the questions of an adult: "What did you draw? What does it look like?". At the same time, an adult should be patient and not insist on a quick answer. It is necessary that the child gradually comprehend all this himself. Children's statements about who drew what should be encouraged without questioning. It is important to encourage children to complete the drawn and named image by asking them questions like "Where is the fish's tail?". This will cause the child to work his thoughts, the desire to give the picture a resemblance to the subject, to supplement the image with the details known to him. It is necessary to encourage children to consciously repeat previously obtained strokes, lines, configurations, which will lead to the conscious creation of an image.
As you master drawing with pencils, you can give your child paints and a brush.
One of the main tasks of the educator is to teach children to hold a pencil, felt-tip pen, and brush correctly: with three fingers, not very close to the sharpened end or pile, without squeezing them tightly with your fingers. For a child, this task is perceived as significant for him personally: a child of this age wants to learn how to do everything right so that it turns out beautifully.
For successful mastery of drawing, modeling, appliqué, it is important to develop the sensory foundations of visual activity: the perception of objects of various shapes (visual, tactile, kinesthetic), colors, starting with contrasting colors (red, blue, green, black) and gradually adding others (without limiting the number of ) colors, without requiring children to memorize the names of a large number of them, however, the teacher himself must name them. This will give children the opportunity to recognize and remember more colors. Consideration of objects and phenomena of the environment with them, as well as didactic games, during which ideas about objects are refined and enriched, are essential in enriching the sensory experience of children and, on this basis, in mastering visual activity.
Children should be encouraged draw a variety of objects that surround them and attract attention in the process of playing, observing on walks, examining, wrapping their hands around the contour of the object. It is advisable to practice drawing with sticks on the ground, in the snow, with chalk on a blackboard, encouraging children to act with one or the other hand.
Drawing should be free, i.e. do not rush to teach children the image of objects certain form. It has been noticed that children quickly form stereotyped actions, develop the habit of drawing only these objects and only in the way the teacher showed. This narrows down the subject matter of the images a child can create; as a result, even when children have the opportunity to draw freely, they will repeat what they learned earlier.
A completely different picture is obtained when children from the very beginning have the opportunity to freely reflect in the drawing what they want: the content of children's drawings becomes more diverse and interesting. Children depict such objects (a car, the sun, a doll, a bird, a fish, a hare, scissors, etc.), which, as a rule, cannot be obtained with the traditional method (when children are asked to draw lines and objects of a certain shape).
Modeling. Children should be introduced to the properties of clay, plasticine (plastic mass can be used), show that they are soft, they can be rolled out with direct movements between the palms, getting sausages, sticks, from which rings, lamblets, an airplane, etc. are molded. A lump of clay can also be kneaded with palms and fingers. Rolling out a lump in a circular motion of the palms, they get a ball (apple, berries), and crushing the ball with their palms - cakes, cookies, gingerbread, etc .; by folding two balls (large and small), children can make a tumbler, a small snowman, a chicken. It is also necessary to teach children to pinch off small ones from a large lump, knead them with their palms and fingers, connect them, pressing them against each other, resulting in various objects.
Second junior group
Children need to form the ability to listen to the teacher, create an image given by him or invented by themselves, evaluate the result, enjoy it.
To improve visual skills, you should continue to develop perception: learn to isolate an object from the environment, circle it with your hands (either one or the other) along the contour or clasp it with your hands to feel the volume (this will help to know the shape of the object and convey it in the image). In the process of perceiving objects, the teacher encourages children to identify and name their shape (round, square, triangular), color; teaches to distinguish and name at least five or six colors, emphasizing their beauty in the surrounding reality: a beautiful blue sky with white clouds floating across the sky, green spruce, bright yellow dandelions in green grass, red (blue, blue) doll dress with white lace etc. In the process of observation and in the classroom, it is necessary to emphasize the beauty of the rhythm of colors, spots, movements: snowflakes falling to the ground, autumn leaves swirling in the wind, rows of bright dots, lines, rings on a white background of a Dymkovo toy.
On this basis, a sense of form, color, rhythm is gradually formed, aesthetic ideas develop. As a result, children have a desire to choose an object of a certain shape, color, etc. Successful mastery of visual activity is impossible without the development of the small muscles of the fingers. Children need to be taught how to hold a pencil and brush correctly, without straining their muscles; without squeezing the fingers, move the hand with a pencil and brush easily and freely, squeeze the clay with the palms and fingers; correctly and accurately use all materials when drawing, sculpting and appliqué (learn to pick up paint on a brush, dipping it into the paint with all the pile, remove an extra drop, lightly touching the edge of the jar with the pile of the brush so that the drop does not fall on paper and spoil the drawing). Topics that can be offered to children: "Autumn leaves", "Decorate the horse with spots", etc.
Teaching children applications, you should practice the skill of gently smearing the reverse side of the image with glue and carefully gluing it to the paper, pressing it lightly with a napkin or dry rag so that the figure sticks better and the excess glue is absorbed.
It should be encouraged to supplement the created image with a story, the desire to hear the assessment of their work by adults, the manifestation of interest in drawings, modeling other children.
In children of the fourth year of life, it is necessary to develop the ability to create collective compositions by drawing together or sticking your image on a common sheet of paper. Approximate themes of the compositions: "Winter Forest", "Chickens Walk on the Grass", "Bugs Crawl in the Grass", "Tumblers Walk, Dance", etc.
Children of the fourth year of life can draw, sculpt individual objects, create applications from ready-made forms, convey a simple plot, decorate the silhouette of an object cut out of paper by the teacher (Dymkovo toy, cup, saucer, mitten, etc.).
At this age, under the guidance of a teacher, children master the process of depicting objects that are linear in nature (colored sticks, strings, paths), consisting of a combination of lines (ladder, fence, tree, herringbone, etc.), as well as round, rectangular, triangular objects . To do this, children need to be taught shaping movements in drawing, modeling, for which it is very important to include the movement of the hand along the contour of the object when it is perceived, to show and explain to children that with one movement you can draw (sculpt) an object or all its parts that have the same shape. So children are led to master the generalized ways of depicting.
Starting from the fourth year of life, children should be taught generalized ways of depicting: objects and their parts of the same shape can be depicted in drawing, modeling and application, and in the same way.
Children of this age are taught to draw, sculpt, stick objects that have one part (they start with them) or several parts. The objects offered to children for the image may be different (plants, toys, etc.). They can be presented by a teacher, children can choose them at will, which increases their interest, desire to do drawing, modeling, and appliqué. They increase interest in visual activity and the inclusion of fairy-tale images in it (kolobok, turnip, etc.), the creation of game motivational motives (nuts, cookies, berries for the birthday of a doll, bear, bunny, etc.). Gradually, the objects offered to children and the objects they choose themselves become more complicated (a cart loaded with balls for playing; a Christmas tree decorated with balls and lights, etc.).
In the lesson, children should be encouraged to create several images (for example, "Apples and berries are on a plate", "Rings are rolling along the path", etc.) to make it easier to remember the methods of drawing, modeling, appliqué and then act more freely and more confidently .
As a result of repeated drawing of the same and different objects, the baby's hand becomes more skillful, confident and free, which allows him to create more complex images.
It is known that children love to repeat the same action and are happy with the result (“Look how many balls I drew”), so an adult should be encouraged to depict several objects in one lesson. Thanks to this, a plot appears in the drawing (Christmas trees grow in the forest); having first depicted one object, the child then supplements the work with other objects that are suitable in content. So, having molded a chicken, the kid makes small lumps from the remaining piece of clay: "Look, my chicken is pecking at grains." Children often create a plot composition, supplementing their work with words in the process of playing it out. Such a development of the game with self-created images is already typical for children of 3 years old. It should be supported in every possible way, gradually transferring the children's play actions into a pictorial plan.
Children of the fourth year of life must be taught to sit correctly (they can draw and stand at tables or easels), i.e. straight, not strongly leaning over a sheet of paper, not resting your chest on the edge of the table (so that your eyesight is not spoiled, breathing is not difficult, movement is not shy), correct
but hold a pencil and a brush: in the right (or left) hand, between the thumb and middle fingers, holding the index finger on top, not squeezing the fingers too much, not too close to the sharpened end. The teacher makes sure that the children do not press hard with a pencil or brush on the paper, hold the sheet of paper with their left hand so that it does not move.
Acquaintance of children with the Dymkovo toy will enrich their idea of beauty and arouse interest in decorating objects. Therefore, they should be encouraged to admire the toy, as well as pay attention to bright color images, not only in the folk toy, but also in pictures and illustrations. Children are taught to decorate various silhouettes, for example, a skirt of a Dymkovo young lady, a scarf, mittens, cups, etc. For painting with the elements of Dymkovo technique available to them (lines, dots, specks, cells, etc.), children should be offered silhouettes (made of white paper) of Dymkovo toys: ducks, goats, horses. In children of the fourth year of life, it is necessary to form an interest in modeling, to acquaint them with the properties of clay and plasticine, to learn how to work with them correctly. During the lesson, the activities of children must be accompanied by nursery rhymes, songs, fairy tales, riddles. This will help develop their emotional responsiveness when perceiving pictures, illustrations, works of folk arts and crafts, toys. The attention of children must be paid to expressive means (bright elegant color, smoothness of the surface).
Children of the second younger group can already be taught to independently find a way to depict objects, to notice a combination of colors, the location of pattern elements. They are introduced not only to Dymkovo toys, but also to Filimonov toys, as well as illustrations for folklore works (Yu. Vasnetsov), small sculptures, they are taught to understand their content, to note their decorative effect.
When choosing topics for classes in visual activity, one should think about their integration with other types of artistic activity, art - literature, music, theater (puppet, finger).
In children of the fifth year of life, aesthetic perception, aesthetic figurative representations, imagination, artistic and creative abilities should be developed; the ability to examine objects (including with hand movements in shape), name their shape (round, oval, square, rectangular, triangular), color (and its shades), size (both the object as a whole and its parts).
Children of this age are already able to perceive and lay out geometric shapes (five to seven) that underlie many objects and their parts, in a certain sequence, taking into account their differences in size (from larger to smaller and from smaller to larger), depict various objects from a set of geometric shapes cut out of paper, transform them by cutting them in a straight line (circle, rectangle - in half), diagonally (square - into two or four triangles).
Children of the fifth year of life must be accustomed to all images (in drawing
vaniya, sculpting, applications) to perform diligently, accurately, bring what you started to the end, enjoy the result. Here a lot depends on the adult. He should be patient, tactful, should be able to praise the child in time, help him, advise him, rejoice at his achievements himself, not be annoyed if something does not work out for him, and not rush to reproaches, not compare the child with his peers or older children , otherwise the child may lose self-confidence, as well as interest in fine arts. It should be remembered: each child has his own pace of development, his own strengths and difficulties.
In one lesson, it is advisable to offer to draw, sculpt, cut out not one, but several objects of the same shape, for example, several fish in an aquarium, cucumbers in a jar, tumblers, etc. Depicting the same object several times, children involuntarily change their size and position in space and at the same time acquire confidence, freedom of movement, which contributes to the manifestation of creativity.
Children must continue to be taught how to hold a pencil, brush, scissors correctly, use paints, pencil correctly (do not press hard on the pencil, increase pressure only to get a brighter shade). Children must be taught to carefully use clay and plasticine, to sculpt only on a special board or oilcloth, so as not to stain the table, tablecloth. You should show the techniques for accurately painting over the drawing with pencils and paints. For this purpose, you can use not only children's drawings, but also special albums in which the child is given such tasks - to draw, color and draw something himself.
To learn how to paint beautifully, a child must understand: the movements of a pencil and a brush cannot be random, the lines should be drawn in one direction - from top to bottom or from left to right, obliquely.
Children of the fifth year of life, better than before, can depict both individual objects and simple plots, the content of which can be objects of nature (a winter forest, flowers bloomed in a meadow, various insects crawl, butterflies fly), plots of fairy tales (Kolobok ran away from grandfather and where did he go? they watched cartoons, etc.). You can offer them to draw, sculpt, cut and paste what they themselves want (according to their plan).
At the same time, the attention of children should be paid to the location of the images on a sheet of paper: below - a strip of earth, grass, snow, water, on the entire surface of the sheet - a forest clearing, sea, snow field, etc.
Children create both individual and collective compositions: "Fish in the aquarium", "Spring flowers bloomed", etc. (drawing); "Treat for Dolls", "Basket with Vegetables", "Hares in a Glade" (modeling); "Hares in a winter meadow", "Beautiful butterflies" (application).
Based on the deepening of ideas about the shape, size, color of objects to be depicted, aesthetic feelings are formed in children. At this age, under the guidance of an adult and with his direct
venous participation (he notes the most interesting works, their aesthetic qualities), children have a desire to hear an assessment of their work and express a value judgment themselves.
Works of fine art (book graphics, folk arts and crafts, reproductions of paintings, small-form sculpture) serve as standards of beauty.
Children continue to be introduced to folk art products: Dymkovo, Filimonovo toys, Gorodets painting. They are already able not only to perceive the painting, color system, composition, pattern elements, but also draw simple elements themselves, decorate toys fashioned by them or silhouettes cut out of paper by the teacher.
First, you need to show the children several different Dymkovo figures, examine them together, determine their characteristic features (white background, bright, multi-colored patterns), the components of the pattern (wide and thin lines, straight and wavy, spots, dots, cells, rings, circles, etc.). Then children should be introduced to Filimonov painting, taught to highlight its features (painting on a white background with green, red and gold Christmas trees, lines, suns, etc.).
It is advisable to give children the opportunity to draw up the silhouettes of household items (dishes, clothes, etc.).
What can be offered to children of this age to depict in drawing, modeling, appliqué? Let's name a few topics.
Painting. Apples and berries lie on a plate (paper for arranging images in the form of a circle). Ripe red tomatoes. Apples ripened on the apple tree. Beautiful flowers bloom. Autumn trees. Decorate with a Dymkovo goat pattern. Beautiful inflatable toys on strings. The hen laid eggs - simple and golden. Decorate the hat. Little gnome. The fish swim in the aquarium. Snow Maiden. Our Christmas tree. Decorate the balls on the Christmas tree with a pattern (two circles the same size cut in half; after the children decorate them, they connect). Fairy tree. Favorite toy.
It's only sample topics. They may be different. The main thing is that children want to draw. From time to time, you can offer them to draw what they themselves want, what they liked.
Modeling. Nuts and sweets are on a saucer; pancakes, cakes, mushrooms. Cucumbers and tomatoes. Fish. Fish big and small. Duck. Birdie. Girl in a long coat. Bowl. Cup and saucer. Bowls for three bears. Kid. The birds are pecking at the grains. Bunny.
As in drawing, you can invite children to sculpt what they want. Application. Children of this age can already master gluing images from ready-made parts and shapes (circle, square, rectangle, oval), and then simple cutting techniques (cut short and long strips in a straight line. The teacher offers children to cut strips and make different objects out of them (their you can not stick it right away - let the child dream up first), and then create different images by sticking strips (grass, trees, Christmas trees, a bench, a chair, bushes, a ladder, a fence, etc.) Then the children gradually master cutting out objects of round and oval shape : beautiful beads, tumblers walk, fruit basket
(a basket is a dish, a tray is cut out by an adult). You can offer children a set of geometric shapes, from which they create different images, combining the same shapes of different sizes (tumbler, beads, caterpillar, pyramid, etc.), transforming them (a square is cut diagonally into triangles, a circle is cut into semicircles, quarters, etc.) or by combining ready-made and converted geometric figures. Such work contributes to the development of not only special visual skills, but also imagination, the ability to creative transformation (Santa Claus's palace from ready-made geometric shapes and their transformations).
To reinforce the skills of accurate gluing, children should be reminded not to pick up a lot of glue on the brush (lowering it into a jar of glue, then remove the excess on the edge of the jar), but after smearing the desired part with glue, put it with glue down on a sheet of paper (where image is created) and pressed firmly with a soft cloth.
All applications created by children should be considered together with the children, noted that everyone did their job, pay attention to the most successful of them, praise those who came up with interesting additions.
The above-mentioned drawing, sculpting, and appliqué classes are included in certain integrated blocks in accordance with their content.
Senior group
The visual activity of 5-year-old children is becoming more and more conscious and deliberate. They begin to form an interest in this activity. Children willingly engage in it, provided that their impressions are gradually and purposefully enriched, their ideas about objects are refined, and the methods of their representation are improved. Children develop the ability to come up with interesting additions to their own images in drawing, modeling, and applications. Preschoolers are already able to evaluate their own work: they managed or failed to express what was intended; did or didn't work out the way you wanted. At the same time, children are still interested in the evaluation of their work by peers and adults. This allows you to gently teach children more detailed analysis, which, in turn, stimulates their desire to get a higher result when creating their works.
By this age, the child's sensory experience is enriched. He already knows the basic shapes and sizes of objects, knows how to depict them. This allows you to offer children more objects for the image. complex structure than before.
In the process of their perception, one should develop such mental operations as comparison and likeness (what it looks like), establishing the similarities and differences between objects and their parts, highlighting the common and the singular, characteristic features, and generalization. On this basis, children develop the ability to analyze perceived objects, compare them with each other, establish similarities and differences (in shape, color, proportions, position in space). This will allow teaching children to convey in the image not only the main properties of objects (shape, structure, size, color), but also characteristic details, the ratio of parts by size relative to
relative to each other (high house - not high house; adult - child, etc.), more complex relationships in height (low, tall, even higher), length (long, even longer), thickness (thick, even thicker ).
Learning this is necessary in order to learn how to depict characters and plots of fairy tales, pictures of nature, urban and rural landscapes, various buildings, animals, etc. For this, in the older group, it is necessary to improve the ability to observe, i.e. peer and listen to the surroundings. Children learn to notice changes in natural objects: the shape of slowly floating clouds or clouds driven by a gusty wind changes, their color changes, the flower corolla gradually opens in the morning and closes in the evening, the lighting of objects changes during the day in the sun and in the shade, etc.
At the same time, for the further development of visual activity and children's creativity, one should continue to form figurative representations - the basis for the development of imagination, the ability to independently choose the content of one's works and embody one's own ideas.
As in the previous group, the movements of both hands along the contour of the object, clasping it with hands, and holding hands along the surface are of great importance for the knowledge of the shape and nature of the surface.
Children must understand the connection between viewing objects and the quality of their image: the better the process of perception is organized, the more versatile it is, the more freely the child will be able to depict the object later.
In this group, children are already able to solve various visual tasks: create subject and plot drawings, applications, modeling, perform decorative compositions both on the instructions of the teacher and on their own. The number of classes for each of these types of fine arts during the year can be approximately the same. The teacher, taking into account the level of assimilation of visual tasks by children and the creative understanding of the image, has the right to determine for himself what classes should be more.
The objects offered to children for the image can now already differ not only in shape and size, but also in the proportions of the parts. The image of objects consisting of several parts, the child succeeds better and gives him a feeling of satisfaction only if he learns to see the proportions of the parts, to measure them.
In the process of perceiving objects and phenomena, children's attention should be drawn to the fact that objects can be located in different ways on a plane (stand, lie), can change position (living beings move, change postures, trees lean on a windy day, etc.) . Systematic observations, carried out together with the child and the child himself, allow him to gain the experience necessary to create images of the world around him in drawing, modeling, and appliqué. At the same time, an adult should teach children to detail everything perceived, including movements, to pay attention to the position of parts of an object in space (a bird sits on a branch, raised its head, bent down, lowered its head, pecks at grains, etc.). To create expressive images, it is necessary to continue to develop the perception of color, to expand ideas about colors and their shades, and
develop the ability to convey different materials: add gouache - whitewash to the main color, dilute watercolor with water, draw with a pencil, adjusting the pressure on it, select paper of the desired colors and shades in the application. The development of a sense of color is facilitated by decorative drawing, the image of flowers, fabulous birds, palaces, etc.
In the older group, children's attention should be paid to the fact that the position of the sheet of paper on which they create a drawing or application should correspond to the proportions of the depicted object: if the object is tall (giraffe), it is better to place the sheet of paper vertically, and if it is elongated ( fox), then the sheet should be placed horizontally. Only then the drawing, the application will look beautiful.
The experience gained by children in the process of observation allows them to create more complex plot images than before. This requires a purposeful and systematic development of perception, the position of objects in space (closer and further from the viewer when drawing; closer and further in relation to the edge of the sheet of paper on which the image is created in the application), the ratio of objects in size, position relative to each other. Placing an image on a sheet, children master the simplest compositional skills: they can already place images in one plane (on the strip at the bottom of the sheet), but it is much more difficult, but also more beautiful to arrange images across the entire sheet of paper in two or three plans, with perspective transfer.
In order to develop decorative creativity, it is necessary to continue to acquaint preschoolers with folk art products, deepen their knowledge of the Dymkovo and Filimonov toys, offer to create images based on folk decorative painting (color system, composition elements), achieving a variety of elements used by them and meticulous execution. To do this, when considering the painting, it is necessary to draw the attention of children to elements that they did not notice before. Children are introduced to Gorodets painting, its color scheme (as a rule, not pure colors, but their shades, the use of animation - black and white color and etc.). As you master the Gorodets painting, you can begin to acquaint children with the Polkhov-Maidan painting (in autonomous republics and regions it is advisable to introduce children to local folk crafts).
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Manuilov Yuri Stepanovich. The subject-aesthetic environment of the student team and its influence on the personality of a high school student: il RSL OD 61: 85-13 / 530
Introduction
Chapter I Subject-aesthetic intersection in the theory and practice of education 13
I. Subject-aesthetic environment as an object of research in the field social sciences 13
2. Object-aesthetic environment modern school 32
The eyes of P. Experience in organizing the subject-aesthetic environment of the student team 59
I. The subject-aesthetic environment of the student team as pedagogical concept 59
2. The subject-aesthetic environment of the student group of the Sakhnovskaya school 70
3. Subject-aesthetic environment. The team of the camp "Komsorg" 89
Eyes Sh. The influence of the subject-aesthetic environment of the student team on the personality of a high school student and the conditions for increasing its effectiveness
I. The influence of the subject-aesthetic environment of the student team on the personality of a high school student 118
2. Conditions for increasing the effectiveness of the influence of the subject-aesthetic environment of the student team on the personality of a high school student 142
Conclusion 164
Bibliography
Introduction to work
The relevance of the research problem. The June (1983) Plenum of the Central Committee of the CPSU pointed out that "as we move forward, not only the opportunities for the all-round development of the individual are constantly increasing, but also the requirements for it from society." professional school" was the demand to resolutely raise the effectiveness of all its educational work to the level of large and complex tasks solved by society.
In the implementation of this task important role plays art. It is no coincidence that, speaking at the Anniversary Plenum of the Board of the Union of Soviet Writers, KU Chernenko said that nothing can replace literature and art in educating the morals and feelings of people, in their ability to influence both the mind and the heart. At the same time, he emphasized: "introducing a person to artistic culture, aesthetic education gives lasting results when it begins with small steps"2.
Improving the effectiveness of educational work in the school largely depends on rational use possibilities of the aesthetic environment capable of providing "a holistic understanding of the surrounding world as a world of human labor and creation"3.
In the field of research various sciences the concept of aesthetic environment has long been included. Its various aspects, which have one or another significance for pedagogy, were covered in the works of philosophers (M.S. Kagan, N.I. Kiyashchenko, L.I. Novikova, etc.), sociologists (Yu. .Suna), social ecologists (A.SAkhnezer, D.R.Mikhailov, Yu.A.ІЄPIK and others), theorists of architecture and design (V.R.Aronov, V.I? .Glazychev, A.V. .Ikonnikov, E.A. Rozen-blum, L.K. Shepetis and others), psychic blogs (V L. Petrenko, MDID-mets, T. Niyt and others).
In pedagogy, back in the early years of the formation of the Soviet school, the questions of the aesthetic organization of the life of children and the artistic design of their subject environment were repeatedly raised. In the practice of S.T. Shatsky, A.S. Makarenko, V.N. .Bryukhovetsky, they were given considerable attention. Established on the basis of real practice and scientific research of theorists of aesthetic education (A.V. Bakushinsky, A.I. Burov, M.A. Verb, B. TLikhachev, Illyubinskiy, BM. Skatershchikov, B.A. Erengros, B.P. Yusov, Yu.V. Sharov and others) ideas about the system of aesthetic education of schoolchildren include the concept of an aesthetic environment.
However, for the first time the aesthetic environment of the school as a special object of pedagogical research was considered only in 1974 by N. A. Kavalerova. In her dissertation, devoted to the aesthetic education of rural schoolchildren, she singled out and characterized the aesthetic environment of the school as a phenomenon of pedagogical reality, isolating its social and subject-practical components?. In many pedagogical studies covering the problems of building school buildings, improving the school environment, landscaping and decorating school premises, etc. (T.E. Astrova, I. Zabolis, Yu.V. Izyumsky, S.Yu. N.F.Solomyayyy, V.Y.Stepanov, L.N.Tasalova, A.L.Ursu, Y.L.Filenkov, K.G.Yulaev, etc.), the objective practical component of the aesthetic environment was also studied as a relatively independent phenomenon. Later (1979) P.P. Avtomonov introduced the concept of the subject-aesthetic environment of the school. Having made the subject-aesthetic environment of the school the object of his research, he defined it as the subject environment in the premises of the school and around it, organized into a harmonic ensemble, created taking into account the educational requirements and the laws of aesthetics. In his research, using the forms of visual agitation as an example, it is shown that the subject-aesthetic environment of a modern school has a significant educational potential, which, unfortunately, often remains unrealized, as a result of which the influence of the environment on students is insignificant. These conclusions are also confirmed by L.P. Baryshnikova (1982). Study of practical experience schools led us to the conclusion that this happens when the subject-aesthetic environment of the school does not turn into the environment of the student team functioning in it, when its perception by schoolchildren is not mediated public opinion and value orientations of the team. The latter can be in cases where: the student team is not developed, not cohesive and only nominally exists; the environment of the school is not focused on the perception of the team functioning in it, due to which it remains free from its influence; the team is not prepared for the perception and evaluation of the aesthetic properties of the objective environment; the student team does not participate in the creation and improvement of the environment, due to which the team perceives the environment as a phenomenon unrelated to its life.
This circumstance prompted us to introduce the concept of the subject-aesthetic environment of the student group. Under the subject-aesthetic environment of the student team, we mean all the visually perceived and aesthetically significant natural and artificial environment with which the team interacts.
Until recently, the subject-aesthetic environment of the collective was not the subject of pedagogical research, its educational influence on the personality of the student was not specifically studied.
The needs of pedagogical practice and the insufficient theoretical development of the problem, thus, determined the choice of the topic of the dissertation research: "The subject-aesthetic environment of the student team and its influence on the personality of the high school student."
The object of research is the subject-aesthetic environment of the student team.
The subject of the study is the influence of the subject-aesthetic environment of the student team on the personality of a high school student.
The purpose of the research is to characterize the ways of influence of the subject-aesthetic environment of the student team on the personality of a high school student and to identify the conditions for increasing its effectiveness.
Research objectives:
1. Describe the subject-aesthetic environment of the student team and its educational functions.
2. To identify the features of the influence of the subject-aesthetic environment of the student team on the personality of a high school student;
3, Determine the conditions for improving efficiency educational influence subject-aesthetic environment of the student team on the personality of a high school student.
Our initial assumptions were:
Each student team operates in a specific subject-aesthetic environment, which is a combination of subject, symbolic, color, light and other characteristics that affect the team;
The subject-aesthetic environment turns out to be educative in those cases when it is organized and used by the team as a source of valuable information, a means of achieving socially valuable and collectively significant goals, an object of socially useful and subjectively significant activity for the team;
The influence of the subject-aesthetic environment on the personality of a high school student depends on how it is used in the life of the team;
The influence of the subject-aesthetic environment of the student team becomes more effective when special work is carried out aimed at the formation and development of readiness, knowledge and skills in high school students to correctly perceive and properly evaluate the subject-aesthetic environment of the student team; when the collective gets the opportunity to consider as its own a certain part of that aesthetically significant space within which its life activity is carried out; when the team participates in the creation and improvement of the subject-aesthetic environment.
The novelty of the study lies in the fact that the concept of the subject-aesthetic environment of the student team has been introduced into pedagogical science, its functions in the educational process have been characterized, the nature of the impact of the subject-aesthetic environment of the team on the personality of the high school student has been shown, and the conditions for increasing its effectiveness have been determined.
The reliability of the research results is ensured by the support in the process of its implementation on the Marxist-Leninist methodology; the use of a complex of complementary, adequate to the subject, purpose and objectives of research methods; a broad base of research, providing the necessary and sufficient for quantitative and qualitative analysis phenomenon under study data; experimental verification of the results obtained in different conditions.
The practical significance of the study lies in the opening up the possibility of expedient organization of the subject-aesthetic environment of the student team and the purposeful use of its potential in educational process schools, camps, out-of-school institutions. The results of the study can be used in work with students (in special courses on the aesthetic education of zholnikov and pedagogy of the children's team); in pedagogical propaganda among teachers and parents.
Organization, base and research methods. The study was carried out in three stages. The first (I979-I98I) studied literature, revealing the essence and meaning of an aesthetically organized object environment, analyzed and compared different approaches to it, hypotheses for the upcoming research were developed, best practices in organizing the subject-aesthetic environment in urban and rural schools(the experience of 68 schools was studied) of the RSFSR, Kazakh, Ukrainian, Estonian, Latvian SSR.
In the process of studying, observation and a color method were used, which allows, through the drawings of students, to determine their relationship to certain elements of the subject-aesthetic environment. As a result, the problem was formulated, hypotheses were identified, and an experiment program was drawn up related to the study of the influence of the subject-aesthetic environment of the team on high school students. At the second stage (І98І-І982) the educational possibilities of the subject-aesthetic environment of student groups of two different types - permanent (school) and temporary ft (camp) were studied. The main method in this case was the method of monographic study excellence. (The experience of organizing the subject-aesthetic environment of the student team of the Sakhnovskaya secondary school in the Korsun-Shevchenkovsky district of the Cherkasy region was studied (director - folk teacher USSR, deputy of the Supreme Council of the USSR A.A. Zakharenko) and the Kostroma regional camp "Komsomol" named after the laureate of the Lenin Komsomol Prize A.Nlutoshkin (commissioner - candidate of psychological sciences A.G. Kirpichnik).
Based on a monographic study of the experience of a pedagogically thought-out organization of the subject-aesthetic environment of student groups in these institutions and conducting an ascertaining and forming (in the Komsomol camp) experiment within their framework, using a questionnaire survey of high school students, interviewing them and teachers, content analysis of the presentations of Schoolchildren , McNimara's criterion, analysis of diaries of educators and letters of educators, creation of pedagogical situations, expert evaluation of the products of the children's activities, the nature and ways of the influence of the subject-aesthetic environment of groups on the personality of a high school student were studied.
The basis for the study of the conditions for increasing the effectiveness of the influence of the subject-aesthetic environment of the student team on the personality of a high school student, in addition to the already named schools, were: school No. 825
Moscow (director - Candidate of Pedagogical Sciences, honored teacher of the RSFSR V.A. Karakovsky) and school V 76 in Riga (director - honored teacher of the Latvian SSR G.P. Pospelova). The main methods of research at this stage were the methods of ranking the characteristics of the environment and determining the coefficient of its attractiveness, polar scaling, observing the behavior of schoolchildren in a changing subject-aesthetic environment of the team.
At the third stage (1982-1983), the obtained data were processed and analyzed, conclusions were formulated and tested, prospective problems in terms of further study were determined, and the literary design of the manuscript was carried out.
Approbation of work. Main theoretical positions works and conclusions were tested in the reports at the conference of young scientists and graduate students of research institutes common problems education of the APN of the USSR "Novelty and practical significance dissertation research" (Moscow, 1982), scientific conferences "Interaction between the team and the individual" (Tallinn, 1982), "Psychology and visual experimental aesthetics" (Tallinn, 1981), "Psychology and architecture" (Lohusalu, 1983), at the Tallinn School young scientists (Porkuni, 1981; Haapsalu, 1982; Värska, 1983) The results of the study were discussed in the laboratory of educational problems of the school staff of the Research Institute of General Problems of Education of the Academy of Pedagogical Education of the USSR.
The implementation of the results of the study into practice was carried out in the process of the dissertation speech at the republican seminar-meeting of methodologists rai(gor)ono on aesthetic education (Kostanay, 1984), reading lectures for teachers of the Kustanai region, students of the Moscow State Pedagogical Institute named after. VI Lenin, Kostroma and Kustanai Pedagogical Institutes; lectures given by the All-Union Society "Knowledge" in the Central Committee of the Communist Party and the Central Committee of the LCS of Latvia; in the process of studying the course "Aesthetics of the Environment" with the teaching class of the school I 825 in Moscow, with the help of recommendations introduced into the practice of the Kostroma regional camp "Komsorg" and the Sakhnovskaya secondary school of the Korsun-Shevchenkovsky district of the Cherkasy region of the Ukrainian SSR.
The dissertation consists of an introduction, three chapters, a conclusion and a list of references.
The introduction substantiates the relevance of the topic, defines the object, subject, goal, tasks, hypotheses, characterizes the organization, base, research methods, reveals its scientific novelty, reliability and practical significance, ways to test the work and implement its results.
The first chapter: "The subject-aesthetic environment in the theory and practice of education", contains a general description of the object under consideration, reveals the state of its study in science, gives an analysis of the educational potential of the subject-aesthetic environment of the modern mass school.
The second chapter: "The experience of organizing the subject-aesthetic environment of the student group" highlights the experience of the pedagogically thought-out organization of the subject-aesthetic environment of the student groups of the Sakhnovskaya school and the Kostroma camp "Komsorg", characterizes the educational functions of the environment and the possibility of including it in various spheres of life of these student groups.
The third chapter: "The influence of the subject-aesthetic environment of the student team on the personality of a high school student and the conditions for increasing its effectiveness" reflects the results of ascertaining and formative experiments to study the influence of the subject-aesthetic environment of the student team on the personality of a high school student and reveals the pedagogical conditions for increasing its effectiveness.
In conclusion, the conclusions arising from the study are given and the prospects for further research are characterized.
Subject-aesthetic environment as an object of research in the field of social sciences
The concept of the subject-aesthetic environment must be considered in the context of a more broad concept environment, the analysis and characteristics of which the classics of Marxism paid great attention to.
Revealing the environment in connection with one or another social subject - an individual, a group, a generation of people, etc., they characterized it as "the real basis of people's life, a certain mass of productive forces, capitals and circumstances, which, although, on the one hand, and are modified by the new generation, but on the other hand, they prescribe to it its own conditions of life and give it a certain development, a new character.
But the influence of the environment on a person is not fatal, because it is carried out in the process of conscious activity of the person himself, who, according to K. Marx, doubles himself not only intellectually, as is the case in consciousness, but also really, actively, and contemplates himself in the world he has created."2 This enabled him to say: "My relation to my environment is my consciousness."3
In accordance with this understanding of the place and significance of the environment in human life, Marx concluded: "... if a person's character is created by circumstances, then it is necessary, therefore, to make the circumstances humane."
Philosophers, representatives of specific scientific disciplines in accordance with their subject area, the studies concretized and further developed the views of the classics of Marxism on the environment. VG Afanasiev, IV Blauberg, EG Sadovskiy and others revealed the environment as an important forming, shaping the system and supporting its development factor. "The environment is made up of objects and phenomena external to the integral system, with which the system interacts in one way or another, changing them and changing itself1. "The system arises in the form of certain prerequisites, which are the conditions of the environment"0.
More specifically, V.N. surrounding world". "Interacting with the environment, the system" builds itself ".
S.N. Artanovsky, A.S. Akhiezer, D.R. Mikhailov and other social ecologists pointed to the "fusion" of the environment with its subject, with which it together forms a kind of integrity, a kind of ecosystem. It considers life and the environment in which it takes place as a whole: how organisms relate to each other and as a system.
In particular, A.S. Akhiezer writes: “The very definition of the environment cannot be given without simultaneously defining the subject of the environment and the essence of the relationship between them. active people"(K. Marx). "The basis of understanding social phenomena, he notes, and, therefore, ultimately understanding the environment, is the consideration of human activity as the basis of the life of society, the ability of a person to assert his existence, reproduce himself, surrounding the river. living peace in spite of all adverse conditions." Further author
concludes that for researchers, the approach to the environment as an object in which and through which the subject reproduces itself, as to the sphere of its needs, should form the basis of the methodology of scientific research.
According to M. Heidmets, "world" is not in the full sense equivalent to "environment", since the latter covers only that part of it with which the subject comes into contact, one way or another interacts. The "world" can exist without a subject, while the "environment" can exist only if it is present. Addressed directly to the being of the subject, the "world" acquires the qualities of the environment, but does not exhaust itself in it-1-.
The researchers note that the environment acts as an intermediary between the subject and the world around him. For the subject, the environment is the world's referent and, at the same time, an attribute of his being, a derivative of his life activity. Through the transformation of the environment, the subject expands the boundaries of the world, changes it, and at the same time improves itself.
LL.Bueva, L.G.Smirnov, Yu.V.Sychev and others enriched ideas about the social environment and its significance for the development of the individual.
Modern science is characterized by differentiation of the concept of environment. So, depending on the substantial signs, philosophers divide the environment into physical and spiritual (Iodo A.I.), cultural (L.N. Kogan), aesthetic (Shepetis L.K.), according to the main forms of the movement of matter - into objective, social - economic, biological (Serdyuk ID., Kurt-Umerov V.). Environments are also distinguished depending on the nature of their substantive basis: natural and artificial. There are typologies that reflect the structure of those scientific disciplines in which they are considered: geographical, economic, architectural, etc. Environments are distinguished according to the qualitative certainty of servicing processes: leisure-recreational, educational and educational; by the channel of perception: visual, auditory, dactyl (Marder A.P.); by the nature of the connection: the environment of perception, activity (Lebedeva G.S.); according to the duration of the interaction of the subject with the environment: permanent, temporary, situational (Novikova L.I.); by the nature of the social space: the environment of the enterprise, school, club, village, city, etc.; in accordance with the specific forms of human activity, his way of life, for example: urbanized, urban environment, environment of an urban area, environment of a production facility, a residential building (Akhiezer A.S.). According to the specifics of the subject (environment of the individual, group, collective). The named typologies are not meaningless and legitimate, as they reflect the qualitative diversity of environments and their subjects, the ways, the relationships existing between them, and are also built on common logical grounds arising from real practice. At the same time, there is a need for an integrative complex consideration of the environment as a phenomenon with a complex structure. The approach of researchers to isolating this structure depends on the subject and goals of the study. The most common structural division of the environment, although not universally recognized, is its division into internal and external (Afanasiev V.G.). There is a view on the structure of the medium, corresponding to its ring structure (distant, middle, near to the center - Kagan M.S.). The environment is also structured according to the degree of mediation of the subject's connections with it, differentiating it into a microenvironment, a macroenvironment (LLTsZueva, Yu.V. Sychev, etc.). Some authors tend to expand this series at the expense of the meso-environment (T. Raitvir), mega-environment, etc. An attempt to structure the environment according to the degree of personalization by its subject deserves attention, as a result of which the environment is psychologically stratified into primary, secondary, etc. (M. Heidmets), etc.
Subject-aesthetic environment of the student team as a pedagogical concept
The concept of the subject-aesthetic environment of the student team is one of the aspects of a broader concept - the environment of the team. The latter is one of the key concepts of the concept of the educational team, developed on the basis of a systematic approach to the object by the Laboratory of educational problems of the school team of the Research Institute of General Problems of Education of the Academy of Pedagogical Education of the USSR1.
Within the framework of this concept, the student team is considered as part of a wider whole - the educational team, which includes, in addition to the student team, the pedagogical team. The latter sets the structure of the student team, determines the direction of its activities, influences its organization, corrects the relationships that arise among students, directs the processes of formation and development of the personality in the student team.
At the same time, the student team is also a relatively independent phenomenon of pedagogical reality, functioning and developing not only due to the influence of teachers, but also under the influence of internal processes of self-regulation, self-organization, self-government, inherent in any children's community. The student body is an open system. He is in the environment and interacts with it: he is connected with the environment primarily through his members, who bring into the team the influences they experience. The team interacts with the environment and as an integrity. And if in the first case the connections of the team with the environment are predominantly self-regulating in nature, then in the second case these connections are most often organized in nature and the initiative in their organization belongs to adults, teachers.
Teachers organize the interaction of the student team with the environment, correcting the processes of perception by the team of this environment, its impact on the environment, the influence of the latter on the value orientations of the team. In the process of such interaction of the collective as integrity with its environment, the latter turns into the environment of the collective - the most important determinant and indicator of its development. Such an approach to the environment surrounding the student team meets the requirements of a systematic approach, according to which any system object is considered in unity with its environment, that is, with that in its environment with which this object interacts.
L.I. Novikova and A.T. Kurakin, who used the concept of the environment of the collective, differentiated it into external and internal environment1, which in general corresponds to the division adopted by us in the analysis of the aesthetic environment of the school (see 2 chapters I). Under the internal environment of the team, they understand all those that surround the student team and with which it interacts within the boundaries of the educational institution on the basis of which the team functions. The external environment is what the team interacts with outside the institution.
Questions of education: systems approach/Yod ed. L.I. Novikova. -M., 1981.
The fundamental importance of such a division of the environment is associated not so much with its distance from the institution, but with the level of its integration with the team, the organic nature of the links existing between them. Thus, a labor and recreation camp for high school students, located several tens of kilometers from the school, should be considered as a component of the internal environment of the team, while an out-of-school institution located in the neighborhood, with which the school carries out some joint work, is already a component of its external environment.
Considering the process of interaction of the student team with its internal and external environment as a pedagogically controlled process, the researchers also identified the main ways to improve its management1. This is the organization of an adequate perception of the environment by the student team;
Formation in the student team of interest in preserving the environment, careful attitude to its values;
The inclusion of the team in interaction with the environment in the subjective position.
Proceeding from this understanding of the environment of the collective, we introduced the concept of the subject-aesthetic environment of the collective. The object-aesthetic environment of the team is a set of material objects (from designer-made objects of the team's daily life, paintings, photographs and other interior details, to entire architectural and decorative-natural complexes located in the zone of their life activity); symbols (attributes of children's - pioneer and Komsoshl - organizations, symbols of the school, various children's associations and clubs - KVD, VDM, Kurakin A.T.u Novikova L.I. School student team: management problems. - M., 1982. - OKOD , etc.)" funds visual information in and out of school; accessories for various festive events (scarlet sail as a symbol of coming of age, etc.); light (chromatic, achromatic, contrast, nuanced, etc.), space configurations (correct or irregular shape, ring-shaped, domed, etc.), rhythm (smooth, syncopated, etc.).
In addition to the subject-aesthetic environment, the concept of the collective environment includes such concepts as the social environment, natural environment, audiovisual environment, language and others. Each of these environments separately has been studied by teachers to some extent, but most often in the aspect of identifying their educational potential, and not interaction with the student team. Our study in this perspective is one of the first, because in it the subject-aesthetic environment is considered as the environment of the student group interacting with it.
The object-aesthetic environment of the student team is not only part of the school environment, but covers certain aesthetically organized parts of the residential area, training and production facilities, labor and recreation camps, in a word, the space of the team’s life that has a corresponding aesthetic effect on it, changing its state and influencing the effectiveness of the processes of activity, cognition, communication, etc., unfolding in the team.
Subject-aesthetic environment. The team of the camp "Komsomol
If the subject-aesthetic environment of the student team of the Sakhnovskaya school took shape over two decades and the nature of the interaction of the team with it could only be traced retrospectively and in general terms, then the environment of the Komsomol camp team was born and functioned for twenty-two days. The study of the process of its birth, development, influence on high school students could be determined using participant observation, and individual private processes could be traced using more accurate methods. These opportunities prompted us as an object experimental study take the team of the summer camp of high school students.
At present, it can be considered established (See the studies of O. SGazman, Yu. V. Burakov, V. D. Ivanov, M. M. Potashnik) that the so-called temporarily under certain conditions, associations acquire the features of a socialist-type collective, which has both features common with other children's collectives, because they are also educational collectives, and special specific features, since they are temporary collectives, the pace of life is accelerated, the system of external relations is transformed, the age range is reduced . In other words, we had every reason to believe that, while studying the subject-aesthetic environment of the team of such a camp of high school students (because we were interested in the senior school age), the process of its formation and the nature of its influence on the children, we will obtain data that are comparable both in similarity and in contrast to the data obtained in the study of the environment of the school's student team. The camp "Komsorg" was taken by us as a base for the study for the same reasons as the Sakhnovskaya school. "Komsomol" was created on the model of the famous Soviet psychologist A.Nlutoshkin as a camp of the Komsomol activists of high school students in the Kostroma region. The basis for organizing his life was the communitarian method, one of the most important principles of which was the principle of organizations adequate to the goals, tasks of the camp, the environment, including the subject-aesthetic one. The team here developed not just through activities, but through activities aimed at improving its environment, both internal and external. Naturally, under such conditions it was especially convenient to analyze this process by joining as a camp employee (teacher of the detachment, methodologist of the artistic service) in its activities. For two seasons (1982, 1983) we monitored the lives of the children, using in the process such private methods as questioning, analyzing the diaries of educators and pupils' letters, creating pedagogical situations, and expert evaluation of the products of high school students' activities.
In other words, in the process of observation, we used a stating experiment aimed at identifying the features of the interaction of the collective that is taking shape in the camp with its surrounding and continuously changing environment.
In general, it is noteworthy that the camp student team interacted with the subject-aesthetic environment surrounding it either as a source of knowledge and orientation, or as a means (tool) for satisfying certain needs in certain areas of life, or approached it as to the object of transformative activity. With the latter circumstance, we will begin the analysis of the subject-aesthetic environment of the student team of the Komsomol camp.
Camp "Komsorg" them. A.її Lutoshkina of the Kostroma region is located on the picturesque bank of the Kuban River, on one side of which stretches rolling plain, and on the other, where, in fact, the camp is located, a pine forest. All buildings in the camp successfully fit into the natural landscape: wooden, blue-painted cottages with bright verandas, a spacious club, the center of the camp - a massive two-story red brick house, made in the style of merchant mansions, once owned by a local confessor. Despite the fact that the base of the camp provided an opportunity for the team to carry out their life activities in full accordance with the goals and program of "Komsorg-ga", some changes were made in it. They touched, first of all, the most intensively used parts of the territory. In particular, high school students covered with gravel and partially paved the paths, dug a gutter at the entrance to the club. The dormitory buildings were brought into the necessary residential condition. With the arrival of the children, the interior of the living rooms was transformed, they settled down due to photographs, prizes, souvenirs specially created by the Surprise group, home-made jewelry made from natural materials, memorable gifts and drawings. The instructor of the detachment S. Afanasiev, for example, considered it necessary to note the following detail in his diary:
“All the decorations made for the next evening were carefully removed by the girls after it was held and, unexpectedly for me and the guys, they decorated the walls of their ward with them. comfort and friendliness in the ward of our girls.Even the guests entering the ward say: "How good it is!" Apparently, the accompanying development of the collective and the accompanying growth of things belonging to and created by it is a natural phenomenon. The collective, creating certain aesthetic values of the subject-aesthetic environment, obviously tends to turn them into an attribute of its life activity, into an organ of its development. In "Komsorg" both the design and equipment of detachment rooms have always been distinguished by their originality, which made the environment of the primary teams incomparable. The lifestyle of the pupils of "Komsorg" encouraged schoolchildren to create special detachment corners, detachment and campfire places. The places and sites chosen by the detachments were cleared and leveled, equipped and formalized, fenced and carefully guarded. But the main object of the design activity of the entire team was the club, the atmosphere of which required constant updating in accordance with the content of the events held in it. Suffice it to say that twenty-six major camp events were held in the club in just one shift. In order to preserve, and even more so to increase interest in each of them, it was necessary, if not radically, then at least partially to modify the appearance of the club and the surrounding area, to bring them into line with the upcoming event. The design work inspired the schoolchildren, because the goal was clear, and the results were tangible. The following examples can give some idea of the nature of the design work. So, in the club at the lesson "Lenin and his cause", the story about "the most humane of people" was conducted from the stage, transformed by schoolchildren into a reading room with tables, table lamps, shelves with books, etc. Strict and simple, inspired by the sculptural image of the leader, the interior actions created the mood of poetic elation and business sense necessary for this situation.
The influence of the subject-aesthetic environment of the student team on the personality of a high school student
The question of the influence of the subject-aesthetic environment of the student group on the personality of the student is not only a purely theoretical, but also an important practical issue. In order to understand the role of the environment in a number of other factors, conditions, incentives, and in order to purposefully use its capabilities for educational purposes, it is necessary to know what effect it has on the personality in general and the high school student in particular. In specialized and fiction literature there are many opinions and judgments that reflect the dependence of various aspects of a developing personality on certain aesthetic characteristics of the situation. These are judgments of the type: "Solemn beauty has a disciplining effect" (M.S. Kagan), etc. but they are not able to give in their totality holistic view about its impact on developing personality schoolchild through the student group that includes her. Since the category of the environment belongs to the categories of the ecological series, the influence of the subject-aesthetic environment on the personality can be correctly understood only in line with the ecological approach, the focus of which, as is known, is the subject himself with the system of his needs, connections and relationships. It is this approach that leads to a correct understanding of the nature of the relationship of the subject with an aesthetically organized environment. But since the subject of interaction with the environment in our study is the student team, then, of course, its position in relation to its environment should become the starting point in establishing the nature of the influence of the latter on the personality of the high school student included in the team. This position leads to the consideration of the subject-aesthetic environment of the team, expressed by the measure of assimilation and personal return of the social and individual experience of the student.
The introduction of students to culture takes place on different levels associated with varying degrees of internalization and exgeriorization of their life experience. So, for example, we can talk about the mastery of cultural values and social norms at the level of simple awareness of children in various areas of culture (ensuring their competence). The operational level of mastery of culture is associated with the ability of children to reproduce, depending on the situation, the cultural patterns they have mastered, social norms, and to manipulate them with a certain degree of freedom. Maybe more high level mastery of culture, when schoolchildren accept cultural values as personal, which is a consequence of the internal choice of children, which ensures the entry of these values into the spiritual world of schoolchildren, into the realm of their beliefs and ideals, innermost meanings, desires and attractions, love and worship, life norms and standards . This is reflected in the consistency and consistency of the manifestation of the culture perceived by the student in various life circumstances, unexpected situations, over a long period of time; one can also talk about the social return of the abilities individually inherent in each student, that is, about such a level when familiarization with culture occurs in the form of an increment to it of the entire “subject-deployed wealth of a human being” (K. Marx).
In the course of the study, the following hypothesis, based on the above-mentioned provisions, was put forward regarding the qualitative originality of the influence of the subject-aesthetic environment on the personality of a high school student. Its essence is as follows. The influence of the subject-aesthetic environment on the personality of a high school student depends on how it is used in the life of the team. When the environment becomes a source of significant information for the team, a means of achieving socially valuable and collectively significant goals, an object of socially useful and subjectively significant activity for the team, then this influence is of three types. Conventionally, we designated them as "direct", when the environment has a direct and perceived aesthetic impact by schoolchildren; "indirect" - manifested in the processes of communication, play, cognition, occurring in the conditions of a given environment, and "mediated" - arising as a result of the activities of the team to improve the environment. "Direct" influence is associated with the perception of cultural and aesthetic values inherent in the environment itself; their internalization enriches the social, cultural, aesthetic experience of high school students. And this happens when the subject-aesthetic environment of the collective is used by them as a source of valuable information. The "indirect" influence on the individual of the subject-aesthetic environment of the student group smolders when it is used as a means of achieving socially significant goals, as a result of which the individual learns social norms that regulate the processes of activity and communication.
The "indirect" type of influence takes place when the subject-aesthetic environment of the student team becomes the object of its labor activity. This contributes to the realization of the individual interests of the student and leads to the development of self-awareness, self-determination and socially valuable self-affirmation of high school students.
Let us dwell on some of the results of our research, in accordance with the hypothesis, aimed at identifying the dependence of personality development on the subject-aesthetic environment of the student team.
It was not technically possible to trace the influence of the subject-aesthetic environment on the developing personality of the schoolchild as a source of orientation of the team in its entirety, which, however, was not particularly necessary. To test the above assumption, it was enough to trace the effectiveness of the student's internalization of individual fragments of social culture, because any part of the environment of the student team could be its carrier and conductor. As such a site for the experiment, we took local history museum Sakhnovskaya school. The factor that played a positive role in the choice of this object was the convenient proximity of the school in the village of Neterebki, the lack of a museum in which made it possible to use a comparative analysis in order to identify the influence of the Museum as a fragment of the subject-aesthetic environment on the awareness of schoolchildren in the field of culture. This circumstance made it possible to carry out such an analysis on the basis of natural experiment with the involvement of tenth grade students from both schools, (twenty-five people each) constituting the experimental and control groups. At the first stage of the experiment, the task was to identify the competence of high school students in organizing a museum exhibition, which also determined the nature of the task. The students, in particular, were asked to report at least one encountered (typical for many museums) shortcomings in the organization of the museum exposition. By the nature of the remarks made by schoolchildren, as we hoped, it would be possible with a certain probability to judge the level of their competence in this field of knowledge. It was assumed that there was a direct relationship between the museum functioning at the school and the competence of students in matters of organizing its exposition. The positions taken by both groups in the testing situation contributed to obtaining reliable data as a result of the study. The experimental group (Sakhnovtsy) tended to hush up shortcomings, believing that frank answers could indirectly cast a shadow on the merits of their own museum. The control group (Neterebkovtsy), not connected with the museum by the feelings of the owners, on the contrary, showed zeal, trying to justify the experimenter's expectations and demonstrate all their erudition in this area. In such a situation, even a slight difference in the responses of the groups in favor of the Sakhnovtsy should in fact mean a significant difference in their levels of competence. The respondents were students - visitors to the museum. The test subjects did not include the organizers of the museum, members of its Council and guides. The results obtained in this experiment are presented in table 4 (see p. 123).
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