Literary creativity of younger schoolchildren in elementary grades. Thematic planning of the course “Creativity Lessons”

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MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

FSBEI HPE "Togliatti State University"

Institute of Humanitarian and Pedagogical

Department of Pedagogy and Teaching Methods

Profile Primary education

TEST

"Creative development of younger students"

STUDENT M.S. Chaburkina

SUPERVISOR Ph.D., Associate Professor I.V. Gruzdov

Tolyatti, 2013

Introduction

1. The concept of creativity in pedagogy

2. Childhood and creativity

Conclusion

Bibliography

Introduction

The problem of creativity at the present stage of development of human society is of exceptional relevance due to the fact that, according to many modern philosophers, culturologists, psychologists, the transition from traditionalist culture to creative culture is being completed at the present time. It is impossible to solve the complex scientific, technical, ecological and spiritual problems of modern civilization without the maximum use of the creative possibilities of mankind. The Law of the Russian Federation on Education states that education is a purposeful process of upbringing and education in the interests of a person, society, state, accompanied by a statement of the achievement by a citizen of educational levels established by the state.

The concept of school education takes into account the personality-oriented model of the younger generation, in which conditions are created for the full development of the personality, for the manifestation and development of the child's creative abilities.

It is at primary school age that the emotional sphere, thinking, and the formation of creative abilities are a unique means of shaping the most important aspects of mental life. In this regard, creating the conditions for children's creativity, the main constituents of the personality remain imagination and creativity based on it, the child's need to actively act in the world.

A creative personality is a person capable of carrying out creative activity, in which motivational and creative activity has been formed.

1. The concept of creativity in pedagogical activity

Pedagogical activity, like any other, has not only a quantitative measure, but also qualitative characteristics. The content and organization of pedagogical work can be correctly assessed only by determining the level of the teacher's creative attitude to his activity, which reflects the degree to which he realizes his capabilities in achieving his goals. The creative nature of pedagogical activity is therefore the most important objective characteristic. The concept of "creativity" is characterized by the breadth of content and use in various meanings, which is reflected in the various positions of researchers. Creativity is distinguished in the broad sense as the creation of material and spiritual values in general, and creativity in the narrow sense of the word as the creation of such material values that did not exist before. It has become generally accepted that creativity contains new material and spiritual values, that it carries some kind of novelty and value that has social significance - this is an activity that generates something new that has never been before.

Pedagogical activity is a process of constant creativity. But, unlike creativity in other areas (science, technology, art), the teacher's creativity does not aim to create socially valuable, new, original, since its product is always the development of the individual. Of course, a creatively working teacher, and even more so an innovative teacher, creates his own pedagogical system, but it is only a means to obtain the best result under given conditions.

The creative potential of a teacher is characterized by a number of personality traits, which are called signs of a creative personality. At the same time, the authors give different lists of such features. Some highlight the ability of a person to notice and formulate alternatives, to question the obvious at first glance, to avoid superficial formulations; the ability to delve into the problem and at the same time break away from reality, to see the future; the ability to refuse orientation to authorities; the ability to see a familiar object from a completely new perspective, in a new context; willingness to abandon theoretical judgments, dividing into black and white, move away from the usual life balance and stability for the sake of uncertainty and search.

The area of manifestation of pedagogical creativity is determined by the structure of pedagogical activity and covers all its aspects: constructive, organizational, communicative and gnostic. However, for the implementation of creativity in pedagogical activity, a number of conditions are necessary: temporary compaction of creativity, when there are no large periods of time between tasks and methods for their resolution; conjugation of the teacher's creativity with the creativity of students and other teachers: the delay of the result and the need to predict it; atmosphere of public speaking; the need for constant correlation of standard pedagogical techniques and atypical situations.

Creativity in pedagogy, as in any other activity, is diverse: it manifests itself in non-standard approaches and problem solving, in the development of new methods, forms, means, techniques and their original combinations; in the effective application of existing experience in new conditions; in the ability to see options for solving the same problem, in the formulation of various operational goals; in the ability to transform methodological recommendations, theoretical provisions into specific pedagogical actions.

2. Childhood and creativity

At the initial stage of ontogenesis, the main priority is the subjective side of the child's creative activity. At an early age, DT is formed in the course of learning the properties of the objective world, as well as interacting with the people around him in a playful way. At preschool age, DT manifests itself in creating the plot of a role-playing game and in productive activities: drawing, word creation, modeling, design.

Types of children's creativity. Psychologists distinguish the following types of DT: artistic, including visual and literary creativity, technical and musical.

Artistic creativity. Children's artistic creativity is a child's activity, manifested in the form of improvisations and the creation of drawings, embroideries, stucco, art compositions, applications, literary works, etc. DT in the field of art contributes to art education and the development of aesthetic taste in a child. At an early age, artistic DT is distinguished by an improvised character. However, this does not exclude the participation and control of adults over this process. According to L. S. Vygotsky and B. G. Ananiev, various types of artistic DT have a close relationship, the interpretation of which is explained by the theory of sensitive periods of child development, the essence of which lies in the fact that with age, the child’s predisposition to one or another type of artistic creativity changes . In childhood and adolescence, the child goes through a successive change of interests (the so-called periods of relevance) to visual, dance-dramatic, musical and literary activities.

Fine children's creativity. Visual DT is the most massive among young children. At 4-5 years old, the child begins to depict recognizable objects, at 9-10 years old, the drawing is a meaningful story with a game plot. According to V. S. Shcherbakov, visual art in adolescence reaches its peak of development and forms a full-fledged perception of the world artistic heritage and professional art by a teenager. Even Aristotle noted the positive influence of drawing on the development of the child's personality. This idea was confirmed in the works of J. A. Comenius, I. G. Pestalozzi and F. Froebel: pictorial DT creates the basis for a full and meaningful communication of a child with adults, has a positive effect on the emotional state of children, distracting them from sadness, fears and sad events .

Literary children's creativity. The first elements of literary DT appear in a child at the age of 1-3 years, when he learns to speak, manipulate sounds and use words in different combinations. During this period, literary DT is part of the game and it is difficult to separate it from other types of DT: the child simultaneously draws, composes a depicted story, sings and dances. Gradually, literary creativity in children acquires a pronounced direction (poetry, prose), an understanding of the social value of a literary work comes, as well as the significance of the process of its creation. Literary DT acquires a more massive character during the period of study at school, when children write compositions, essays, essays and stories.

Technical children's creativity. Technical DT is one of the important ways of shaping the professional orientation of children, contributes to the development of a sustainable interest in technology and science, and also stimulates rationalization and inventive abilities. Technical DT is the design of instruments, models, mechanisms and other technical objects in labor lessons and extracurricular activities (circles, courses, centers for children's and youth creativity).

Musical children's creativity. Musical DT is one of the methods of musical education of children and is manifested in the study of musical works of composers. B. V. Asafiev and B. L. Yavorsky believed that musical DT is of great importance in the perception of the world around the child. Children's musical creativity, as a rule, has no value for others, but it is important for the child himself. Musical DT is a synthetic activity that manifests itself in different forms: playing musical instruments, rhythm, singing. The elements of musical DT are among the first to appear when a child has the ability to move to music. Thanks to this, the child develops visual-spatial coordination, ear for music and motor skills. The child learns to control the body and masters dance movements.

Children's creativity and personality of the child.

DT, as one of the ways of the intellectual and emotional development of the child, has a complex mechanism of creative imagination, is divided into several stages and has a significant impact on the formation of the child's personality.

children's creativity pedagogy didactic

3. Search activity as the basis of creativity

The search activity of younger schoolchildren is a creative activity aimed at comprehending the world around them, discovering new knowledge and methods of activity for them. It provides conditions for the development of their value, intellectual and creative potential, is a means of their activation, the formation of interest in the material being studied, allows the formation of subject and general skills. Research data (L.P. Vinogradova, A.V. Leontovich, A.N. Poddyakov, A.I. Savenkov) indicate the possibility of successfully teaching the elements of educational research already at the initial stage of school education.

The orientation of the modern school towards the humanization of the educational process and the diversified development of the individual implies, in particular, the need for a harmonious combination of the actual educational activities, within which basic knowledge, skills and abilities are formed, with creative activities related to the development of the individual inclinations of students, their cognitive activity, abilities independently solve non-standard tasks, etc. Active introduction into the traditional educational process of various developmental activities, specifically aimed at the development of the personality-motivational and analytical-intethetic spheres of the child, memory, attention, spatial imagination and a number of other important mental functions, is in this regard one of the most important tasks of teachers.

From a psychological point of view, childhood is a favorable period for the development of creative abilities, because at this age children are extremely inquisitive, they have a great desire to learn about the world around them. And parents, encouraging curiosity, imparting knowledge to children, involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of children is freer than that of adults. It is not yet crushed by dogmas and stereotypes, it is more independent. And this quality needs to be developed in every possible way.

The close relationship between exploratory behavior and creativity seems obvious, but this does not remove the task of considering their interaction in more detail. We are used to believing that to explore, to discover, to study means to take a step into the unknown and the unknown, and therefore the activity of a researcher is usually qualified as a creative activity. And the researcher himself, according to this logic, is certainly a creator. The nature of exploratory behavior, as well as creativity in general, is one, and therefore, from the point of view of psychology, it does not matter what the creator does: studies the movement of celestial bodies or the laws of the development of living organisms, makes films or conducts an orchestra, writes pictures or books, manages production or develops new computers.

In our everyday ideas, a researcher is usually referred to, first of all, the one who conducts a scientific search. But the desire to take steps into the unknown is typical not only for those involved in science. The desire for exploratory behavior and exploratory abilities are the universal characteristics of a creator. This desire is the most important symptom and at the same time the key to the development and self-development of the individual.

Both creativity and research behavior cannot be limited to a certain professional area, and both are necessary in all areas of activity and in the daily life of any person without exception.

The idea of considering creativity as one of the most natural forms of fulfilling the need for search has a long tradition in psychology. So, for example, V.S. Rotenberg argues that ... creativity is a kind of search activity.

By search activity, he understood activity aimed at changing the situation, or at changing the subject himself, his attitude to the situation, in the absence of a definite forecast of the desired results of such activity. For a true creator, creation for the sake of creation is the optimal form of realization of his search activity.

4. Project-based learning in elementary school

Project-based learning is a category that combines the idea of using students' project activities to solve various educational problems, including the formation and development of students' project-based activities (project competence).

Educational design - a category denoting the use of design for educational purposes, which has specific features, unlike design in other areas of human activity, is also an educational process, which is based on the use of an educational project as a didactic tool, and everything connected with it. How to ensure the effectiveness of student project activities? In order to create conditions for effective independent creative project activity, students need to:

1. Carry out preparatory work.

Getting to work, the student must have the necessary knowledge, skills and abilities (starting ZUN) in the content area of the project. The teacher can give new knowledge to students during the project, but in a very small amount and only at the moment of its demand by students. The student will need to a certain extent formed specific skills and design skills for independent work.

Within the framework of traditional classes, special organizational forms and methods are used, special attention is paid to the outline of the lesson. For example, a problematic introduction to the topic of the lesson, setting the goal of the lesson together with students, joint or independent planning of the implementation of a practical task, group work in the lesson, including role-based distribution of work in the group, introspection and self-evaluation, reflection.

Each project must be provided with everything necessary:

* material and technical and educational and methodological equipment,

* staffing (additionally involved participants, specialists),

* information resources (fund and catalogs of the library, Internet, CD-Rom audio and video materials, etc.).

* information technology resources (computers and other equipment with software),

* organizational support (special schedule of classes, classrooms, library work, Internet access),

* a place separate from lesson classes (a room with the necessary resources and equipment that does not restrict free activity - a media library).

At the same time, different projects will require different support. All required collateral must be in place prior to starting work on the project. Otherwise, the project should not be taken on, or it should be redone, adapted to the available resources. Insufficient provision of project activities can negate all the expected positive results.

2. Take into account the age and individual characteristics of students.

It is important to remember that interest in work and feasibility largely determine success. As part of the project activity, it is assumed that students propose a problematic issue. But in the conditions of elementary school, it is acceptable for the teacher to present the question or help the students during its formulation.

3. Ensure the interest of children in working on the project - motivation.

Motivation is an unfailing source of energy for independent activity and creative activity. To do this, at the start, it is necessary to make an immersion in the project in a pedagogically competent way, to interest the problem, the prospect of practical and social benefits. In the course of work, the motivational mechanisms incorporated in the project are included.

4. Carefully choose the fundamental question of the project.

The whole project has some fundamental issue. If this question is of interest to students, then the project will be successful. In other words, this is where the significance of the problem for students comes from. If necessary, it must be corrected.

5. Create a group of no more than 5 people.

To work on the project, the class is divided into groups. It is optimal to create a group of no more than 5 people. Each of these groups will work on one of the sub-questions, the so-called "problem question". This question is like a hypothesis, but unlike a hypothesis, it has a different structure.

6. Take into account the possibility of educational subjects for the implementation of project activities.

Relatively low efficiency in the implementation of project activities of students have such subjects as their native language, literary reading, and mathematics. Since the systematic construction of the curriculum - a condition for the high quality of knowledge "at the exit" - dictates a strict selection of forms and teaching methods. The implementation of project activities in these disciplines is best done in extracurricular activities, especially in the form of interdisciplinary projects.

The most effective are such subjects as the world around us (natural history), foreign languages, computer science, fine arts, and technology. The teaching of these disciplines not only allows, but also requires the introduction of the project method into both classroom and extracurricular activities of students.

5. Development in subgroups of the content of didactic games to familiarize preschoolers with the objective world

Successful management of didactic games, first of all, involves the selection and thinking through of their program content, a clear definition of tasks, the definition of a place and role in a holistic educational process, interaction with other games and forms of education. It should be aimed at the development and encouragement of cognitive activity, independence and initiative of children, their use of different ways of solving game problems, should ensure friendly relations between the participants. With the help of verbal explanations, instructions, the educator directs the attention of children, streamlines, clarifies their ideas, and expands their experience. His speech contributes to the enrichment of the vocabulary of preschoolers, the mastery of various forms of learning, and contributes to the improvement of gaming actions. Detailed and verbose explanations, frequent remarks and indications of errors are unacceptable, even if they are caused by the desire to straighten the game. Such explanations and remarks tear the living fabric of play activity, and children lose interest in it. You can not impose on children a game that seems useful, the game is voluntary. Children should be able to refuse a game if they don't like it and choose another game. The game is not a lesson. A game technique that includes children in a new topic, an element of competition, a riddle, a journey into a fairy tale and much more ... this is not only the methodological wealth of the educator, but also the general work of children in the classroom, rich in impressions. The emotional state of the teacher should correspond to the activity in which he participates.

Leading the games, the teacher uses a variety of means of influencing preschoolers. For example, acting as a direct participant in the game, he imperceptibly directs the game, supports their initiative. Sometimes the teacher talks about an event, creates an appropriate game mood. He may not be included in the game, but as a skillful director, he directs the development of game actions, the implementation of the rules.

Leading the didactic game, the teacher uses a variety of forms of organization of children. If close contact is needed, then preschoolers are seated on chairs placed in a circle or semicircle, and the teacher sits in the center. Sometimes children are divided into groups occupying different places, or if they are traveling, they leave the group room. This form of organization is also used, when children sit at tables. Didactic games are held in a group room, in the hall, on the site, etc. This ensures a wider physical activity of children, a variety of impressions, immediacy of experiences and communication.

Boguslavskaya Z.M., Bondarenko A.K. indicate that the organization of didactic games by the teacher is carried out in three main directions: preparation for the conduct of the didactic game, its conduct and analysis.

Preparation for the didactic game includes:

Selection of the game in accordance with the tasks of education and training, deepening and generalization of knowledge, development of sensory abilities, activation of mental processes (memory, attention, thinking, speech);

Establishing the compliance of the selected game with the program requirements for the upbringing and education of children of a certain age group;

Determination of the most convenient time for conducting a didactic game (in the process of organized learning in the classroom or in free time from classes and other regime processes);

Choosing a place to play where children can play safely without disturbing others. Such a place, as a rule, is allotted in a group room or on a site.

Determining the number of players;

Preparation of the necessary didactic material for the selected game (toys, various objects, pictures, natural material);

Preparation for the game of the educator himself: he must study and comprehend the entire course of the game, his place in the game, methods of managing the game;

Preparation for the game of children: enriching their knowledge, ideas about the objects and phenomena of the surrounding life, necessary for solving the game task.

Conducting didactic games includes:

Familiarization of children with the content of the game, with the didactic material that will be used in the game (showing objects, pictures, a short conversation, during which the knowledge and ideas of children about them are clarified);

Explanation of the course and rules of the game. At the same time, the teacher draws attention to the behavior of children in accordance with the rules of the game, to the strict implementation of the rules (what they prohibit, allow, prescribe);

Showing game actions, during which the teacher teaches children to perform the action correctly, proving that otherwise the game will not lead to the desired result (for example, one of the children is watching when you need to close your eyes);

Determining the role of the educator in the game, his participation as a player, fan or referee;

Summing up the results of the game is a crucial moment in managing it, since by the results that children achieve in the game, one can judge its effectiveness, whether it will be used with interest in the independent play activities of the children.

The analysis of the conducted game is aimed at identifying the methods of its preparation and conduct: what methods were effective in achieving the goal, what did not work and why. This will help to improve both the preparation and the process of playing the game itself, and avoid mistakes later. In addition, the analysis will reveal individual characteristics in the behavior, character of children, and, therefore, to properly organize individual work with them.

When leading games in the older group, it is necessary to take into account the increased capabilities of children. At this age, the child is characterized by curiosity, observation, interest in everything new, unusual: he wants to solve the riddle himself, find the correct solution to the problem, express his own opinion. With the expansion of the volume of knowledge, changes also occur in the nature of mental activity. Therefore, when selecting games, the main attention is paid to the degree of difficulty of game rules and actions. The latter should be such that when they are performed, children show mental and volitional efforts. A large place in the games is occupied by the motives of competition: preschoolers are given greater independence, both in choosing a game and in creatively solving its problems. The role of the educator in the game itself is also changing. But here, too, the teacher clearly, emotionally introduces the pupils to its content, rules and actions, checks how they are understood, plays with the children to consolidate knowledge. Then he invites the children to play on their own, while at first he monitors the actions, acts as an arbiter in controversial situations. However, not all games require such active participation of the educator. Often he is limited to explaining the rules of the game before it begins. First of all, this applies to many desktop-printed games.

Thus, the management of didactic games in senior preschool age requires a lot of thoughtful work from the teacher in the process of preparing and conducting them. This is the enrichment of children with relevant knowledge, the selection of didactic material, and sometimes making it together with the pupils, the organization of the environment for the game, as well as a clear definition of one's role in the game.

Conclusion

At present, due to the humanization and humanitarization of education, teachers have received great opportunities for the implementation of creative ideas. Particular attention is paid to creating conditions for the development of creativity in the activities of the child, the formation of positive motivation for educational work.

There are technologies based on a new approach to understanding creativity.

Creativity is a person's realization of his own individuality; it does not necessarily create a product. The very concept of "individuality" has several meanings.

First, individuality indicates the fact of the existence of an individual; individuality is a kind of living integrity. This is how it is understood in the biological sciences.

Secondly, the concept of individuality indicates that one individual is not like another; these differences between individuals are studied in psychology as individual.

Thirdly, the concept of individuality indicates that each person is unique and unrepeatable.

Thus, individuality is unique and inimitable, its awareness by a person and presentation to other people is already a creative act.

In this case, a systematic appeal to the emotional sphere is the main condition for the development of creative talent in schoolchildren. In order to contribute to the realization of the child's creative potential and the development of his giftedness, an adult must contribute to his emotional self-expression. To do this, it is necessary to create conditions in which the child lives, realizes and expresses various emotional states. Emotions should not be analyzed, but lived by the students.

The choice of this or that technology, tasks remains with the teacher, who composes the tasks depending on the age of the children and their level of preparation. It is important to bear in mind that when performing tasks, only the desire to work is evaluated, tasks are not evaluative, but developmental in nature.

Bibliography

1. Konstantinova L.B. Development of creative abilities of younger students. // Elementary School. - 2000.

2. Lerner I.Ya. Didactic foundations of teaching methods. - M.: Pedagogy, 2001.

3. Luk A.N. Psychology of creativity. - M.: Nauka, 1998.

4. Manina O.V. Logic lessons as a means of developing the intellectual and creative abilities of younger students. // Elementary School. - 2008.

5. Nikitina A.V. Development of creative abilities of students. // Elementary School. - 2001.

6. Pedagogy / Ed. P.I. piddly. - M.: Ped. Island of Russia, 2000.

7. Sityavina I.A. Modern lesson in elementary school. // Elementary School. - 2006.

8. Ushachev V.P. Teaching the basics of creative activity: Proc. allowance. - Magnitogorsk, 1991.

9. Bychkov A.V. Method of projects in modern school. - M., 2000.

10. Zemlyanskaya E.N. Educational projects for younger schoolchildren // Elementary school. 2005.

11. Matyash N.V., Simonenko V.D. Project activity of younger schoolchildren: A book for primary school teachers. - M.: Ventana-Graf, 2004.

12. Pakhomova N. Yu. Method of educational projects in an educational institution: A guide for teachers and students of pedagogical universities. -- M.: ARKTI, 2003.

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DEVELOPMENT OF CREATIVE ABILITIES OF JUNIOR SCHOOLCHILDREN IN THE LESSONS AND OUTSIDE TIME.

Introduction.
Creative games in the classroom.
Literary creativity.
Creative tasks for the development of individual abilities.
How do I develop creativity outside of school hours.
Literature.

Introduction.

Do you want your children to be

able and talented?

Then help them make the first

steps on the steps of creativity,

but... don't be late and helping...

think for yourself.

B.P. Nikitin

School is a world of youth, hopes and joy, where the soil for creative activity is most favorable and where the spiritualizing search for reason and goodness does not fade away. Being in constant search, trying to be creative in the educational process, I, as a teacher, want to see in each of my students a future singer, artist, writer, artist or just a kind, loving person. From the very first days of training, I try to create an atmosphere of creation and creativity in the children's team, I help to reveal the abilities of each of my students. To do this, literally from the first days I teach my first-graders, with a single theme for all, to complete tasks in their own unique version, thereby developing independence, activity, initiative, i.e. qualities that accompany creativity and determine the development of creative abilities.

This cannot be said to be a smooth process. At first, problems and difficulties arise due to the fact that not every child is open to creativity, for example, due to underdevelopment of attention and imagination. In order to correct these shortcomings and activate the work of all children (even the weakest), I try to introduce into the lesson such forms of work that would not only develop, encourage creativity, but would be accessible and interesting to everyone. The task of the teacher is not to look for, but to think about improving all the teaching methods and techniques aimed at active creative learning, to choose those that are capable of giving the greatest and most lasting results with the least effort.

How to teach a child to learn, how to “bring” a student to creativity?

We must not miss a single opportunity to reveal the abilities of our students. Each teacher, based on the experience and individual characteristics of students, can make a large list of techniques and methods. I found the answer to this and many other questions in the use of problem-based learning technology.

At the heart of the conscious act of teaching lies the ability of a person to productive (creative) imagination and thinking. Moreover, with a low level of development of these processes, neither successful learning nor successful self-learning is possible. But it is they who determine the development of the creative potential of the individual. The success and confidence in learning depends on how the teacher can help to reveal the individual abilities, qualities and talents of each. Problem-developing learning helps to take a fundamentally important step towards the formation of learning motives and cognitive interests.

This technology helps to increase the learning motivation of schoolchildren, their cognitive interest, it turns even the most shy, withdrawn children into active, self-confident and self-confident students. This technology allows the teacher to reduce the time for studying many topics, and devote the freed time to “immersion” in the subject. Constant systematic work on this technology will help improve learning outcomes (after all, self-acquired knowledge is more durable!).

Where to start? From creating a problem situation in the lesson! Try to go through this stage with your students, and I'm sure you won't be able to stop there! Learning tasks serve as a didactic tool that ensures the development of students' thinking in the process. If a learning task creates a problematic situation, then it is called problematic. The functions of cognitive tasks are diverse. They help the student comprehend the educational material, consolidate the knowledge gained, develop the qualities necessary for research activities, master the techniques of thinking, and learn to apply knowledge in a new situation. But the concept of "problem situation" cannot be considered in isolation from the child. If he does not understand the task, cannot isolate the unknown and perform the necessary mental operations, then the task is not problematic for him. It is not so even if he easily copes with it, using the methods of action already known to him. Therefore, to create a problem situation, it is necessary to take into account its structural composition, that is, all its components: the need to perform such an action, in which there is a cognitive need for a new, unknown method or condition of action; the unknown, which should be revealed in the problem situation that has arisen; the student's ability to complete the assigned task, to analyze the conditions and discover something new. When including problematic tasks in the lesson, two points should be paid attention to.

1. Knowledge can be offered to students in the form of a sample known to the teacher, which the student must remember and reproduce, and then work out the appropriate skills and abilities. I will give a number of examples of creating a problem situation in mathematics lessons.

For example, in the lesson “Written addition of the form 45 + 23” (second grade), the task is proposed as follows:

Can you add two digit numbers?
Add the numbers 45 and 23 using the mental calculation technique. How will you argue?
Did you know that there is such a form of notation in which units are always added first, and only then tens? In addition, this form of notation saves time on calculations and takes up less space.
Do you want to know what this record is?

2. In another case, the student is included in the activity, the process of which he needs to master new knowledge and he himself or with the help of the teacher "discovers" the new.
For example, in the lesson “Addition within 20 with a transition through a dozen” (second grade), the teacher offers the task:

Find the unknown number of the second equality using
top line examples:

9 + 3 = 12 6 + 8 = 14

9 + 2=... 7 + 8 = ...

How else can you solve the examples of the second line?(Using a numerical segment, using an addition table)
Is it possible to use the listed methods, for example, when shopping in a store? Why?(We have dealt with such examples before, a in a life situation there is neither an addition table nor a numerical segment)

How to be in such a situation?(Find a new way to solve)Thus, the problem task is a necessary component of the learning process, the purpose of which is to develop the student's thinking. Performing a motivational function, problem tasks allow you to repeat previously acquired knowledge, prepare students for learning new material and formulate a problem, the solution of which is associated with the "discovery" of new knowledge.

You can start studying the topic “Dividing a sum by a number” with the following task:

Guess what rule the expressions are written in each column. Calculate their values:

54: 9 63: 7 78: 8

(36+ 18): 9 (49+14): 7 (24+ 48): 8

36:9 + 18:9 49:7+14:7 24:8 + 48:8

On the one hand, the task is clear to students and they can begin to complete it. On the other hand, it is associated with the study of something new, which is not yet known to students. The task only prepares students for the "discovery" of this new one. In the context of new knowledge, it becomes possible to repeat previously studied material. Of course, not all students can, after completing this task, independently formulate the property of dividing a sum by a number. Therefore, students are invited to write down columns of expressions according to the same rule for cases 36: 4, 48: 6, etc. Awareness of the mode of action allows students to independently represent the numbers 81, 72, 45 as the sum of two terms, each of which is divisible by 9 (new task).

It would seem that the mode of action is clear. But you can offer students a task that confronts them with a new problem.

How are the expressions in each pair similar? What is the difference?
(24+48):8 (42+14):7 (36+18):9

(22+50):8 (40+16):7 (34+20):9

Analyzing pairs of expressions, students find that in the first expression of each pair, you can use an open method of action, but not in the second expression.

The problems do not end there, and students are offered the following task.

Which of these numbers can be written as the sum of two terms, each of which is divisible by 6, and which cannot: 36, 48, 52, 28, 24, 38, 56, 6?

The task again creates a problem situation in which all the necessary components are present.

When creating a problem situation, the teacher must remember that if the task is formulated without taking into account the knowledge of students, their age characteristics, this will necessarily lead to a loss of motivation for learning. Only a problem situation correctly created by the teacher ensures the intellectual development of students, instills in them strong-willed qualities, independence, activates and develops the emotional sphere and imagination.

If you take the time to master the skills of creating problem situations, you will be rewarded with the fact that the desire to understand a new problem will appear even in those students from whom you did not expect it.

Creative games in the classroom.

One of the most fertile forms of creativity has been and remains the game.Psychologists define play as a leading activity in preschool age. In it, the child is activated as a person, through the game he learns the world. At primary school age, the role of the leading activity passes to teaching, to educational activity. This transition should not be abrupt, so game techniques can be successfully applied throughout the entire education in elementary school. Another thing is that the game should correspond to the age of the children, be exciting and, most importantly, promote mental and spiritual development, i.e. must be creative.

In the primary grades of the modern school, one of the effective methods that actively influence the cognitive activity of students, their emotional sphere, is a creative game. It contributes to the creation of an emotional mood among schoolchildren, causes a positive attitude towards the activities performed, improves overall performance, makes it possible to repeatedly repeat the same material without monotony and boredom, and achieve its lasting assimilation.

The game is a familiar activity for children of primary school age. They are actively involved in an interesting game, distributing roles in it among themselves. they try to achieve the best results, rejoice in victory, are upset because of defeats. Children live for play. The teacher needs to widely use this interest, put it at the service of the educational process, develop the creative potential of each student in the game.

It should be noted that a teacher who is creative in his work sees in the student not only an object of influence, but also a partner, an ally in the creative process. But it is the game that can help create an atmosphere of partnership and mutual respect in the classroom, strengthen the child’s faith in their own strengths, give them a taste of victory, both personal and collective.

The use of creative play in elementary school lessons helps, to one degree or another, to remove a number of difficulties associated with memorizing the material, to study and consolidate the material at the level of emotional awareness, which undoubtedly contributes to the development of cognitive interest in subjects. It is also important that creative play in the classroom contributes to the enrichment of students' vocabulary and broadens their horizons. It carries a huge emotional charge, solves not only general educational and developmental tasks, but also brings up the qualities of a creative person: initiative, perseverance, purposefulness, the ability to find a solution in an unusual situation.

Didactic and creative games have common roots, since the methods of their preparation and conduct are similar: the presence of certain visual and handout materials, dividing children into groups or teams, setting a game task, identifying the winner or winners.

To teach a child to think independently, to defend his point of view is the main task of a creative game.

Its effectiveness largely depends on the emotional attitude of the teacher to the course of the game, on the interest in its results. In addition, not all students learn the rules at the same time, so the teacher can help them during the game.

However, this help should be as hidden as possible from other students, so that everyone - both the weak and the strong - has the impression of the equivalence of their participation. The task of the teacher is to create a situation of success for each child, to help him open up to the fullest.

Any creative game can be used repeatedly. In order for interest in it not to decrease, it can be modified by replacing equipment (new objects, pictures, symbols are introduced) or by introducing new rules. It is also useful to involve the students themselves in this process: let them show their imagination and change the game, or maybe create a new one, they will play not only in the lesson, but also outside of school hours.

I will give a number of examples of such creative games in Russian lessons

language.

1. Task: write letters into the cells so that you get a word (according to the given rules).

First, you need to give each student the opportunity to come up with their own words, encouraging each new option.(tank, brother, barrel, brotherand etc.). Then you can complicate this game by asking the children to select words for only one part of speech, or on a given topic, or on some spelling rule, etc. When this game is fully mastered by children, you should move to a new, more difficult level.

(Lamp, paw, ray, lemon and etc.)

(Stork, vase, crane, tire and etc.)

It is impossible to even imagine how many such games children can come up with. The main thing is that none of them go unnoticed. The most interesting ones can be included in the lesson, others can be hung out in the classroom in a conspicuous place, let the children play after school hours, in a more free environment.

The next type of such a multifaceted creative game in Russian language lessons can be the game "Extra Word". The essence of this game is that from a number of words, students first need to remove one “extra word”, substantiating their answer, then from the remaining words one more, then one more, until two or three “necessary words” remain. This game is useful in that students involuntarily have to compare the proposed words according to various criteria: lexical meaning, composition, grammatical features, etc., which leads to the development of the listed concepts.

The teacher can play this game repeatedly when studying any topic and at any stage of the lesson, the main thing is that it matches the goals and fits organically into the structure of the lesson.

Another example of creative play is creating your own font or code. The simplest option is to simply duplicate each letter of the Russian alphabet with your own icons and encrypt your text with these "letters". A more complex option involves changing some fundamental feature of the letter, for example, depicting a capital letter with the same icon as a lowercase letter, but with a dash at the top.

The most difficult version of this game, schoolchildren are given a text encrypted in an unknown way from a literary work.

Knowing the text, students must solve the cipher, and then use the guessed font to write down the text that they themselves will compose.

And what a scope for children's imagination opens up a game for inventing their own words, necessarily motivated, i.e. related to real words. For example, when studying the topic: “Compound words”, you can invite children to come up with their own words, continuing the series, then determine the meanings of the selected words: samolet, dump truck, scooter ... (self-carrier, self-propelled, self-jumping and etc.)

Or, when studying the topic “Proper Names,” ask the children to come up with their own nicknames for animals, displaying their appearance or habits:goat Bodula. rooster Screamer, dog Layushka, horse Swift-footed, lamb Curly and etc.

Literary creativity.

Of all forms of creativity, literary, verbal creativity is characteristic of school age. It is well known that at an early age all children go through several stages of drawing.

Drawing is a typical creativity of an early age. At this time, children draw willingly, sometimes not awakened by any of the adults; sometimes the slightest stimulus is enough for a child to start drawing. At this time, drawing is a favorite pastime of children. The creative forces of the child focus on drawing is not accidental. It is drawing that provides the child with the easiest way to express what he owns. By the beginning of school age, love and interest in drawing begins to wane, and for many children it disappears altogether. It is very important not to miss this moment and arouse in children an interest in drawing. Very often in the classroom I give the children assignments: draw an illustration for a passage they like, draw environmental signs that you would put in your own school, village, etc. (see appendix). The child draws and at the same time talks about what he draws. Another method of developing literary creativity is theatricalization. The child dramatizes and composes the verbal text of his role.

The child's "unconstrained word", open dialogue in the classroom, free thought are indispensable conditions for children's creativity. The lessons of reading, the world around us, Cuban studies are suitable for an open dialogue. In the first years of schooling, a child learns to navigate in a speech stream, to distinguish between sounds and letters, to distinguish text from a set of sentences, and acquires the skills of correct and conscious reading. Acquaintance with reading begins with the first literacy lessons, in which I use different poetic material. For example:

Look at the gate:

Why is it not the letter I?

Between two straight boards

One lay down.

V. Stepanov

T turned into an antenna

And I found myself on the roof.

A. Shibaev

With the help of counting rhymes, tongue twisters and tongue twisters, students get acquainted with the concept of "rhyme".

Sha-sha-sha-

Mom is washing the baby.

Ta - ta - ta -

Our house is clean.

The students are able to do the creative tasks proposed below for the selection of rhymes.

In our house on the window

Sitting gray ... ________

Bear cries and roars:

Asks the bees to give ...

With great pleasure, students complete the task in which they need to continue the poem, for example:

Continue lines:

Spring, spring outside

Spring days!

Such tasks help to identify children who are prone to intellectual creative work, capable of versification.

A properly organized reading process includes the work and creativity of the reader: while reading, he actively reacts to the actions of the characters, evaluates them, compares them with his own actions and actions, recreates them in his imagination, participating in co-creation.

Reading activity involves the correct organization of perception, memorization and reproduction of the text being read. And how the process of working with the text is carried out: purposefully or spontaneously, creatively or formally, whether it awakens emotions and an active attitude to what is being read, depends on what the reader will become.

At present, the most developed methodological direction in teaching reading is the formation of correct reading activity in students. Correct reading activity is "a three-stage process of purposeful individual comprehension and development of books by children (before reading, in the process of reading, after reading)".

First, preparation for the perception of the text is carried out. It is in the nature of a preliminary orientation. Students read key words and phrases, the title of the work, the last name of the author, written on the board, look at the illustrations and make assumptions about the content of the text.

Work in the process of reading is aimed at comprehending the text at the level of content. The text is read in sentences, paragraphs, parts. In the course of reading, clarifying questions are asked for initial perception and understanding of what is read.

At the third stage of working with the text, it is necessary to achieve understanding at the level of meaning. Here the ability to understand, remember and reproduce what is read is formed. With the help of these skills, a deep, full perception of the work is carried out. Students also perform creative tasks - illustration, word drawing, inventing a continuation, compiling a filmstrip, staging.

Such a “three-step process” of working on a work allows you to build a reading lesson in such a way that the identification of knowledge and learning merge into a single process, and the study of the new is based on already known knowledge, based on the life experience of a small reader.

As the reading experience accumulates, students more actively enter into a dialogue with the teacher and with each other.

Coming into contact with the work of poets and writers, joining the great works, students learn to love and understand what they read. And the love of reading is the beginning of the development of one's literary abilities.

Discovering the secret of the living Russian language, performing creative tasks, students gain the first experience of literary creativity and versification.

Literary, verbal creativity is characteristic of primary school age. Its meaning is important for the child himself, and not for literature, it is necessary for the development of the powers of the little author. Children's literary creativity can be stimulated and directed from outside. The best stimulus is such an organization of the life of students that creates needs and opportunities for children's creativity. This is facilitated by a free atmosphere in the school and classroom, trust and respect on the part of the teacher, providing students with independence, attention to the interests of each student, to his inclinations, health, versatile development and abilities.

Creative compositions, presentations.

I give a special place in the educational process to work on essays, since I believe that this is an invaluable material not only for the development of students' written speech and the formation of literacy, but also for the formation of the personality as a whole (creative thinking, emotional and volitional spheres). Essays on various subjects allow you to view the dynamics of growth in the development of students' creative abilities, to learn not only the inner world of the child, but also his interests, the degree of his observation, are an indicator of the overall development of the child. When working on an essay, I never give children a ready-made sample, so the compositions of all children are different, and when analyzing, I focus the attention of children on the best works, on vivid expressions, comparisons. I never read unsuccessful essays in class, but work with children individually.

In school essays, narrative, description, reasoning are distinguished. Compositions in elementary grades are rarely kept in the pure genre of narration, description and reasoning. Most often, in elementary school, essays are mixed works.

The story tells about successive events connected with each other. The works of this genre may have a plot, in which case they are close to stories of the literary genre.

Narration is the most mobile, lively and therefore the most accessible genre of compositions for children (“A walk in the forest”, “What I see from the window”, etc.). The essence of the description is to indicate the signs of objects or phenomena.

The purpose of the description is to give the most complete, accurate information about the subject, phenomenon (“In the forest in autumn”, “My cat”, etc.).

Reasoning is a coherent text in which judgments, comparisons, examples are used to prove a statement, leading to conclusions (“What do I dream of becoming”, “If I were a magician”, etc.)

Children write various essays: description, reasoning, compose fairy tales, etc. The subjects of the compositions are diverse: For example: “Letter to the Governor”, “Journey of a Snowflake”, “Why Do We Need Toys”, “This is a great word - mother”, “I love my land”, etc.

The role of composition in elementary school is immeasurably great. What has been done in the lesson to teach children to express their thoughts correctly and sensibly, to argue and prove, to defend their opinion in various life situations? This question should always, at all lessons, be faced by every creatively working teacher.

The development of the skill of independent creative work is the task of a teacher in elementary school. This creative process includes the stage of teaching presentation in the lessons of the Russian language and reading. There are a number of conditions that it is useful for the teacher to fulfill:

Presentation training is carried out using the necessary visualization and technical teaching aids to create an appropriate atmosphere for creative work;
In grade 2, read the text more slowly, and in grade 4, read at normal speed, reading the text not 3 times, but two;
Maintain an atmosphere of goodwill and trust;
Create a non-judgmental climate of relationships (compare work!).

An indicator of the overall development of the child are also essays, research papers of students in various subjects. I form the research activity of students starting from the 1st grade. Children choose the topics of research papers on their own, with ready-made papers they perform in the classroom and after school hours.

In order to carry out a full-fledged educational process, I have created a lot of diverse didactic material in all subjects: handouts for group and individual work in the lessons of the Russian language and mathematics, tasks for the development of speech, logical thinking, memory, attention, multi-level tasks for lessons, tests for subjects, cards for vocabulary work, collected the best essays and research papers of students.

In each lively and direct story, statement, essay, children's inquisitiveness, curiosity, love for the world around them, simplicity and sincerity are reflected. This is how a new person, a personality, is formed, and my task is not to let this spark die out.

Creative tasks to reveal the individual abilities of students.

Success and confidence in learning depends on how the teacher can help to reveal the individual abilities, qualities and talents of each child. Here the children themselves can be of great help if they know more about themselves, about the peculiarities of their attention, memory about the ability to communicate. In solving this problem, I am helped by a set of creative tasks that require an individual solution, the ability to realize my “I”. They can be performed on all subjects. Here are some of them.

1 task.

Do you remember where you had to watch animals?

Now let's play the Animal Theatre. Imagine some kind of animal and try to portray it: here it moves, here it listens, eats, drinks, makes its own sounds. (One student portrays, the rest try to find out what kind of animal it is, substantiating their assumptions.)
Now let's think about how the habits of wild animals (animals) differ from the habits of domestic animals? (Children justify their observations.)
Can you draw your favorite animal and give it a name? Who has pets at home?

At home, it is proposed to observe the habits of domestic animals or the habits of animals in the zoo in order to describe them in detail in a week.

2 task.

Let's share our thoughts with each other. Tell me what you feel or imagine when you hear the words day and night. (Children's answers are heard.)

Now let's get on with the work. Draw pictures if you like. We will call one "Day", the other - "Night".

Day Night

Now let's see what you got. (Exchange of drawings, discussion of them.)

What colors did you choose? Why?
And now let's play. Match the group of words that come to your mind when you hear the word day Night)! (You have 1 minute to think.)
Let's see what you got? Who wants to read or speak? (Read the options.)

Who managed to write down (or say) more words? It remains for us to remember what sounds you hear during the day? And at night? (Then everyone is given a piece of paper with a picture of a blot.)

What animal does she look like? Is it possible to draw it to some animal?

The guys write their stories-assumptions - about an animal that resembles a blot.

3 task.

Almost every day you hear the words water, air. How are they similar? Do they have something in common? What is the difference? How can you draw them?

Children draw, then the drawings are discussed. The brightest ones are selected.

What sounds do they affect you? Tell, share with others.

Now close your eyes and try to imagine that you are in the water, what do you feel? (Children's answers.) And when there is air around you, what do you feel? Try to talk or write about your feelings.

What is water like? What is air like?

__________________ ____________________

__________________ _____________________

Close your eyes and imagine that you have hot air in the palm of your hand. Why does it come out? Now tell me, how would you feel if ice water was running down your back?

Children share their feelings.

When are air and water harmful to humans?

Various versions and hypotheses are discussed.

Now remember what you hear when a bicycle tire or ball chamber goes down? What's happening? (Children's stories are heard.)
Where does a person use water, what is air needed for? What do they serve us?

Such tasks help to reveal individual abilities, help the child to open up and show creativity.

Conclusion.

Children's creativity is inexhaustible, the nutrient medium is a sense of mystery that one so wants to unravel. In order to awaken creativity in children, you need to create this nutrient medium, sow the seeds of creativity in the souls of children, and they will certainly give excellent shoots. It is necessary to become a comrade and friend for your students, since command methods do not work, here the effect is achieved on the basis of dedication. The main stimulus of creativity is the great joy that it gives to both the student and the teacher.

Every child has abilities and talents. Children are naturally curious and eager to learn. All it takes for them to show their talents is smart guidance from adults.

The problem of developing creative abilities is multifaceted and difficult. Creativity is understood as something that does not come down to knowledge, skills, but explains their rapid acquisition, consolidation and use in practice.

Conditions for the effective development of creative abilities of younger students.

Choice situations are created, the learning process includes tasks that are performed taking into account the imagination;
Co-creation is organized in the children's team from the whole manifestation and development of the creative abilities of everyone;
Technologies for the development of creative thinking are used;
The diagnostic results are systematically monitored.

Every child has different kinds of gifts. Of course, not all children have the ability to compose, imagine, invent. And yet, the talents of each person can be developed. Incentives are needed for their development.

Ways to stimulate creativity.

providing a favorable atmosphere;
goodwill on the part of the teacher, his refusal to criticize the child;
enrichment of the child's environment with a wide variety of new objects and stimuli for him in order to develop his curiosity;
encouraging the expression of original ideas;
providing opportunities for practice;
using a personal example of a creative approach to solving problems;
giving children the opportunity to actively ask questions.

The importance of developing the creativity of a younger student, his ability to take initiative, inventiveness, and independence in solving any educational problem, is now obvious to everyone. Correlating the process of creativity and learning, obviously, we need to talk about creating such conditions that would contribute to the emergence and development of all trainees' qualities and inclinations, usually singled out as characteristic features of a creative personality. The effectiveness of the school is determined by the extent to which the educational process ensures the development of the creative abilities of students, prepares them for life in society.

Thus, we can conclude that every child has creative abilities. It is individual - psychological characteristics that distinguish one person from another. The creative potential of our society depends on how developed they are, since the formation of a creative personality today acquires not only a theoretical meaning, but also a practical meaning. Knowledge of teachers, what is meant by the creative abilities of students, will expand the boundaries of their manifestation in children.

List of used literature:

Ataev. L. V. Creativity is the basis of pedagogical activity. / Primary school (plus before and after), No. 1 2005

Bogoyavlenskaya D.B. Paths to creativity. M., 1981
Borzova V.A., Borzov A.A. Development of creative abilities in children. Samara, 1994
Bylevskaya VN Development of creative abilities of junior schoolchildren. Primary school, 1990, No. 5
Wenger L.A. Pedagogy of abilities. M., 1983
Vygotsky L.S. Imagination and creativity in childhood. M., Education, 1992
Lvova Yu. L. To develop the gift of creativity. Kyiv, 1987
Lyashko T.V., Sinitsina E.I. Through play to creativity. Obninsk, 1994
Maksimov Yu.V. "Spring of Creativity". M., 1986
Matyushkina A.M. Development of creative activity of schoolchildren. M., 1991

Nechaeva N.V. Organization of literary creativity. Krasnoyarsk, 1993

The theme of my pedagogical experience is “Development of creative abilities of younger students”

At present, creative, active, mobile, initiative people are in demand in all spheres of public life. A modern person should be able to observe, analyze, make suggestions, be responsible for the decisions made. Therefore, aboutOne of the pedagogical tasks today is the introduction into the educational process of such technologies that help children not only acquire certain knowledge, skills and abilities in a particular field of activity, but also develop their creative potential.

This contributes to the development of the student: he becomes more independent in his judgments, has his own point of view and is able to defend it reasonably. Efficiency increases. But the most important thing is that the child develops his emotional sphere, his feelings, his soul. And if his emotions are developed, then his thinking will develop. And a thinking person is the person who must leave the walls of the school.

As you know, creativity - this is a human activity aimed at creating a new, original product in the field of science, art, technology and production.creative process- it is always a breakthrough into the unknown, but it is preceded by a long accumulation of experience, knowledge, skills and abilities, it is characterized by the transition of the number of all kinds of ideas and approaches into a new peculiar quality.

Creativity presupposes that a person has certain abilities. Capabilities - these are the psychological characteristics of a person on which the success of acquiring knowledge, skills and abilities depends, but which themselves cannot be reduced to the presence of this knowledge, skills and abilities.

Creative abilities do not develop spontaneously, but require a special organized process of training and education, revision of the content of curricula, creation of pedagogical conditions for self-expression in creative activity.

Psychologists have long come to the conclusion that all children are talented. Creative potentials are inherent and exist in every person. The task of the school is to identify and develop these abilities in accessible and interesting activities.

Develop creativity? What does it mean?

Firstly, this is the development of observation, speech and general activity, sociability, a well-trained memory, the habit of analyzing and comprehending facts, will, and imagination.

Secondly, it is the systematic creation of situations that allow the student's individuality to express itself.

Thirdly, it is the organization of research activities in the cognitive process.

Work on the formation and development of the creative abilities of younger students must be carried out at every lesson and after school hours. Invaluable help in solving this issue is provided by the lessons of mathematics,which ensure the improvement of the child's personality, give a holistic view of the world and a person's place in it, contribute not only to the development of creative inclinations and inclinations, but also form the readiness of children for further self-development.

I think that in order for a younger student to develop creative thinking, it is necessary for him to feel surprise and curiosity. At the initial stage, tasks for the development of memory, attention, imagination, observation, as the basis for the development of creative abilities, help us a lot in this. In modern textbooks of any educational and methodological set of these tasks, a large number.

Puzzles, crossword puzzles, puzzles are used ...

At the next stage, we offer partial search tasks of different levels. These are tasks for identifying patterns: - divide the figures into groups, - find the "extra" pattern, - find the pattern and draw all the following polygons. - by what principle these figures were combined, etc.

For the development of students' creative abilities, such partial search tasks that contain several solutions are of great importance.

When compiling tasks, you can use meta-subject relationships.

Gradually, we come to solving more complex non-standard tasks. Non-standard tasks contribute to the formation of a positive attitude to tasks of a problem-search nature, critical thinking and the ability to conduct mini-research; contribute to the manifestation of a higher degree of independence in the formulation of questions and the search for solutions; lead to the actualization of internal motivation among students, which is manifested in the preference for difficult tasks, curiosity, the desire for mastery and increased self-confidence.

Such tasks require greater or complete independence and are designed for search activities, an extraordinary, unconventional approach and creative application of knowledge.

An example of such tasks can be a variety of games for drawing up silhouette figures according to their own design:
Chinese game "Tangram" (from a square), "Vietnamese game" (from a circle), "Columbus egg", "Amazing triangle".
Back in the 19th century, the German teacher F. Fröbel founded an integrated course for teaching mathematics using origami, on the basis of which one can improve and strengthen geometric knowledge and skills, as well as develop the creative abilities of students.

I want to invite you to show your creativity. (Practical work)

When solving problems, an act of creativity occurs, a new path is found or something new is created. This is where the special qualities of the mind are required, such as observation, the ability to compare and analyze, find connections and dependencies - all that in the aggregate constitutes creative abilities.

You can talk a lot about mathematics for a long time, but an important role for the development of creative abilities is played by the subjects of the literacy cycle, this is the Russian language and literary reading.

In order for children to successfully master the basic speech skills and abilities, a huge work of the teacher is necessary. I often use didactic games in my lessons. It contributes to the creation of an emotional mood among students, causes a positive attitude towards the work performed, improves overall performance, develops observation, creative abilities. The didactic game can be used at various stages of the lesson.Didactic games are especially common at the stages of repetition and consolidation.

The game "Pick up a pair" is of great interest to the children. Its purpose is to develop the ability to correctly correlate the names of objects and actions.

Each student has a card on the desk, on which the words are written in a column:snowstorm, thunder, sun, lightning, wind, rain, snow, clouds and strips of paper with the words dripping, floating, falling, sweeping, thundering, baking, etc.

For each word denoting the name of the subject, students select a word denoting an action. And then the task is given: to replace each action with its possible option.

You have cards with words on your tables

Black, flies, cowardly, crawls, hare, beautiful, beetle, dragonfly, jumps.

Divide them into groups.(Check the task: two ways to solve)

To enrich speech, work with various speech units is used. For example, with phraseological units. (do work)

Huge opportunities for the development of creative abilities are given by the subject of literary creativity.

There are practical tasks

Illustrations for the text.
Compilation of filmstrips based on the work
Modeling and application.
Homemade books

Speech assignments

Continuation of the work (inventing your own ending)
writing

Work on writing begins with the guys with a simple game "I'll start, and you continue"

Though I'm not timid boy, I was frightened *********. (Frog)

We read books together.

With dad every weekend.

I have two hundred pictures

And dad's - ... (none).

In the future, children are happy to compose riddles, compose quatrains, write thematic essays, fairy tales. All this is arranged in baby books.

Children's creativity is especially evident in dramatization games.
The creativity of children in these games is aimed at creating a game situation. Creative play teaches children to think about how to implement a particular idea. In a creative game, as in no other activity, valuable qualities for children develop: activity, independence.

Another technique in my work is "Drudles"

The basis of a drudle (puzzles for the development of imagination and creativity) can be any scribbles and blots. Drudle is NOT a completely finished picture that requires an answer to the question: “What is drawn here? »

Each answer develops imagination and creative thinking.

Children and creativity are practically inseparable concepts. Any child by nature is a creator, and sometimes he does it much better than we adults do.

There are no disabled children. It is only important to teach them to believe in themselves, to reveal their abilities. This is the task of every teacher.

And for a teacher - one desire is not enough, one must patiently and consistently master pedagogical skills, study the mental characteristics of schoolchildren, anticipate possible difficulties, and take into account the characteristics of children. You must always remember that any activity of the child needs to be evaluated, rewarded, encouraged.

Thoughtful design of the class, children provided with everything necessary, the availability of visual aids, handouts - all this is of great importance for the successful development of the child. The friendly tone of the teacher, creating a friendly atmosphere, psychologically prepares students for work - increases the motivation for creativity. And this leads:

to improve the quality of students' knowledge,
acquiring the skill to independently organize their educational activities,
activation of creative and cognitive activity of students,
the formation of positive personal qualities of the student,
formation of a conscious need for a healthy lifestyle.

I want to end my speech with the words of Maxim Gorky

“You need to love what you do, and then labor rises to creativity”

Federal Agency for Education

Kuzbass State Pedagogical Academy

Department of Humanitarian Disciplines and Teaching Methods

Final qualifying work

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

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

Shipunova Anastasia Vladimirovna

Novokuznetsk 2009

Introduction

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

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

Conclusions on Chapter I

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

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

Conclusions on Chapter II

Conclusion

Bibliography

Appendix

Introduction

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

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

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

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

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

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

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

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

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

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

During the study, the following tasks were solved:

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

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

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

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

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

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

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

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

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

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

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

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

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

1. perception of the problem;

2. search for a solution;

3. the emergence and formulation of hypotheses;

4. hypothesis testing;

5. their modification;

6. finding results.

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

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

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

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

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

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

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

1. Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).

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

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

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

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

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

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

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

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

5. The ability to easily associate distant concepts.

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

7. Flexibility of thinking.

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

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

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

11. Creative imagination.

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

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

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

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

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

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

1. The ability to take risks.

2. Divergent thinking.

3. Flexibility in thought and action.

4. Speed of thinking.

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

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

8. High aesthetic values.

9. Developed intuition.

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

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

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

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

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

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

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

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

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

1. The ability to take risks.

2. Divergent thinking.

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

4) social reinforcement of creative behavior.

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

1) problematic presentation of knowledge;

2) discussion;

3) research method;

4) creative work of students;

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

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

1) by the result (product) of activity;

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

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

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

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

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

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

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

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

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

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

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

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

1) warm-up;

2) development of creative thinking;

3) fulfillment of developing partially search tasks;

4) solving creative problems.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Interdisciplinary approach in formulating problems;

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

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

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

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

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

Various types of essays, presentations, creative dictations;

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

Drawing up tables, diagrams;

- "discovery" of ways of word formation;

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

Distribution of offers;

Coming up with endings for stories;

Drawing up drawings using stencils;

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

Creation of filmstrips for literary works;

Staging, dramatization, "revival" of pictures;

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

Creation of visual, sound, taste images of letters;

Selection of synonyms, antonyms;

The study of phraseological turns.

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

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

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

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

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

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

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

Table 1

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

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

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

table 2

Levels of development of creative abilities of younger students

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

Characteristics of the levels of creative abilities of younger students

1.High level.

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

2. Average level.

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

3.Low level.

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

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

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

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

Table 3

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

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

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

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

Conclusions on Chapter I

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Let's give some examples - from practice.

Riddles competition.

Making riddles.

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

The children continue. Lies in the sun

He squints.

Another offers. Her mice are afraid.

The third. She has one concern:

Go hunting at night!

Lies round, golden

I opened my mouth as much as I could

Took a big bite.

I thought it would be sweet

It turned out sour, nasty!

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

Wave upon wave ran,

The wave drove the wave.

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

Here is another auditory image, “rumbling”:

When the first spring thunder

As if frolicking and playing,

Black raven in the snowy dusk.

Peace to the aspens, which, spreading its branches,

We looked into the pink water.

(S. Yesenin.)

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

(M. Tsvetaeva.)

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

Grandma just fell asleep...

And received a collection of funny poems:

Grandma just fell asleep

Murzik quickly got off the chair,

Started walking around the room

Jump, run, wake everyone up.

Morning has finally come

The fugitive walked a lot,

The naughty trudged home

Dirty, wet and lame.

The first snow fell to the ground

All at once it became light!

It is fluffy, bright, white,

It lies lightly on the ground.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

6. Structural and compositional work (story plan):

Birds are "winterers".

Bird food in winter.

Getting food.

7. Role play. Image of birds.

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

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

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

3. Drawing up a plan for a future story:

A) the first spring thunder,

B) nature is awakening,

C) people rejoice in spring.

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

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

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

Table 6

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

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

Table 7

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

(first and second ascertaining experiment)

Analysis of the results of the second stating

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

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

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

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

Conclusions on Chapter II

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

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

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

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

Conclusion

Having studied the theoretical foundations of the formation of creative abilities of younger students and identified the pedagogical conditions for the formation, we made the following conclusions:

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

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

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

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

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

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Applications

Appendix 1

Method "Compositor"

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

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

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

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

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

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

Annex 2

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

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

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

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

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

Annex 3

Method "Three words"

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

Words for work: birch, bear, hunter.

Evaluation of results:

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

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

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

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

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

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

Appendix 4

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

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

Type of lesson - familiarization with new material.

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

Lesson Objectives:

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

learn how to plan a work using modeling.

Lesson objectives:

Educational:

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

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

identify the artistic features of epics;

Developing:

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

form literary ideas

Educational:

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

Planned achievements of students in the lesson:

name epics correctly and highlight their features

compare heroes - positive and negative

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

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

Equipment:

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

Visual range:

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

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

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

Sound range:

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

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

During the classes

I. Generalization of existing knowledge about oral folk art.

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

It is necessary to restore the missing element - epics.

Slide number 1.

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

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

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

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

After that comes the work with the slide.

II. Learning new material.

1. Slide number 2.

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

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

2. Slide number 3 (image of a hero)

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

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

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

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

Today we will meet one of them.

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

(listening to an audio cassette with an epic)

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

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

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

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

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

Vocabulary in the classroom.

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

Rawhide belts - durable belts made from raw animal skin

Tyn - fence

Chambers of princes - a large rich room

Kaftan - men's outerwear

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

Druzhina - princely army in Ancient Russia

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

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

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

Individual task for the student:

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

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

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

What difference did you see?

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

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

1 group (weak)

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

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

2 group (middle)

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

3 group (strong)

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

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

Work with the whole class.

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

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

Independent work of children.

Checking completed work.

8. Crossword

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

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

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

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

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

9. Literary dictation

Bylina, hero, epic hero, Russia, Ilya Muromets, Burushka-Kosmatushka, Nightingale the Robber, Karacharovo village, Smorodinaya river

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

Mu Homework:

artistic retelling of the epic

draw heroic armor

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

Type of lesson: generalization and systematization of knowledge.

Lesson form: lesson-game with competition elements.

Lesson Objectives:

1. Educational:

to consolidate the concepts of oral folk art;

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

2. Developing:

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

development of competent oral speech;

development of expressive reading skills

3. Educational:

fostering a careful attitude to oral folk art;

education of moral qualities.

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

Benefits: texts of nursery rhymes, fables.

Lesson plan:

1. Introductory word of the teacher.

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

3. The result of the lesson.

4. Homework.

During the classes

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

Today we have an unusual lesson

On it we will sum up the work.

On the genres of oral folk

Let's talk creativity

Let's repeat what we have read.

Whether in the garden, in the garden

The girl was walking

Whether in the garden, in the garden

Watered the flowers.

One flower plucked

And handed it to us in class.

2. The topic of the lesson.

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

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

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

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

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

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

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

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

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

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

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

Each team names their proverbs and explains them.

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

“Whoever is literate is not the abyss.”

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

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

2 task.

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

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

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

3 task.

One two three four five -

Calculate guys

What are in the circle here.

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

Each team must give an example of their own rhyme.

Well done boys! Here comes the next petal.

4 task.

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

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

A cat married a cat.

The cat is walking on the bench.

And the kitty - on the bench,

Catches a cat by paws:

Oh you kitty, kitty

Cool little one!

Play with me cat

With Masha, a young cat!

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

Each row should give an example of its nursery rhyme.

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

The sparrow flew, flew.

He flew, he flew young.

Over the blue sea.

I saw, I saw a sparrow.

I saw, I saw young

How girls walk

And the girls walk like this

And like this, and like this,

This is how the girls go.

The sparrow flew, flew.

I flew, I flew young

Over the blue sea.

I saw, I saw, sparrow,

I saw, I saw, young,

How do guys walk.

And the boys walk like this

And like this, and like this,

That's how the guys go.

(Comment. Identification of the reading experience of students, individual survey and evaluation of students' answers, the ability to work with additional literature and educational books. This form of work allows each child to show his level of erudition and literary development, test himself, comprehend and understand something).

5 task.

Guys, who can say what is fiction?

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

A merchant walked past the market,

tripped over a basket

And fell into a hole - bang!

Squashed forty flies.

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

Children's answers.

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

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

6 task.

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

It's a mystery.

Then for you guys

One riddle.

1 team.

Not a rider, but with spurs,

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

And how did you guess?

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

2 team.

Not a tailor, but all my life

Walks with needles. (hedgehog)

And how did you guess?

He has a lot of needles.

3 team.

Two bellies, four ears (cushion)

Explain how you determined it was a pillow.

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

Here is the next petal opened.

7 task.

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

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

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

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

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

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

Children's answers

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

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

Here's another petal open.

8 task.

What is a fairy tale? Children's answers.

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

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

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

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

Demonstrate illustrations, children's answers.

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

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

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

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

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

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

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

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

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

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

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

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

Additional material.

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

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

2. Crested laughter

Laughed with laughter:

Ha ha ha!

3. An apple rolled past the garden,

Past the garden, past the city.

Whoever picks it up will get out!

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

Lesson-journey "Meeting with a fairy tale"

The purpose of the lesson:

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

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

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

Equipment:

exhibition of books "Russian folk tales";

cards with excerpts from fairy tales;

items for staging fairy tales: tablecloth, plate

bag, bucket, broom.

visual material depicting objects from fairy tales.

tables with the names of fairy tales;

rooster, mouse, snow maiden masks

illustrations for Russian folk tales;

During the classes

1. Organizational moment.

2. Setting the goal of the lesson.

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

3. Actualization of knowledge.

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

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

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

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

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

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

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

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

Who does not believe - let him believe

I am glad to any guest!

Opening doors to a fairy tale

I invite all the guys!

4. Work on fairy tales.

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

Station "Mysterious" (a student comes out)

Fairy tale, fairy tale, joke

Telling her is not a joke.

To a fairy tale first,

Like a river murmured

So that by the end both old and small

She didn't fall asleep.

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

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

(children's answers)

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

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

1) Someone for someone

Grabbed tight:

Oh, can't pull it out

Oh, stuck tight.

But more helpers will soon come running:

Friendly common work will win the stubbornness

Who sat down so tight?

Maybe this: (Turnip).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The red girl is sad

She doesn't like spring

She's hard on the sun

Tears are shed, poor thing.

(Snow Maiden).

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

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

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

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

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

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

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

Finished the job -: (walk boldly.)

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

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

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

Bitter work: (yes bread is sweet).

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

Russian folk tale "Spikelet".

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

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

Who owns these words from a fairy tale?

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

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

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

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

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

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

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

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

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

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

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

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

about industriousness ("Morozko")

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

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

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

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

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

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

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

Let the heroes of fairy tales give us warmth,

May good always triumph over evil!

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

Summary of the lesson.

What new did you learn at the lesson today?

For whom was the lesson difficult?

What did you especially like?

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

Homework.

Continue reading Russian folk tales.

Annex 5

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

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

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

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

Appendix 6

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

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

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

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

Alena Popova
Features of the development of creative abilities of younger students

Features of the development of creative abilities of younger students

Junior school the age of 8-9 years is determined by an important external circumstance in the child's life.

Junior school age is a favorable period for development of creative inclinations and abilities.

Research by psychologists and educators points to a link creative abilities with development personality and intellect, development of the imagination, which has its features of the child. From this it can be assumed that at this age creative abilities have a special form.

The child's creativity develops in the course of his interaction with the environment, under the influence of training and education in the best sense of these words.

According to the theory of L. S. Vygotsky, school age, like all ages, opens with a critical, or turning point, period, which was described in the literature earlier than others as a crisis of seven years. It has long been observed that a child, in the transition from preschool to school age changes very sharply and becomes more difficult in terms of education than before. This is some kind of transitional stage - no longer preschooler and not yet a schoolboy

According to L. S. Vygotsky, everything that requires creative re-creation, everything that is connected with the invention of a new one needs the indispensable participation of imagination. Child's fantasy primary school age more creative than a child's fantasy preschool age, although less productive than the fantasy of a teenager or an adult.

Imagination at this age is, from a genetic point of view, a game, but it differs from the game of children. preschool topics that it breaks its connection with real objects. As the child grows older, he stops playing; he replaces play with imagination. In some game situations, the rise of vitality and the disposition to act together are extremely demonstrative. The free participation of all and the stimulating atmosphere of preparation for the struggle awaken ingenuity and creation.

Ways to stimulate creativity:

Ensuring a favorable atmosphere

Goodwill on the part of the teacher, his refusal to criticize the child

Enriching the child's environment with a wide variety of new objects and stimuli for him in order to development his curiosity

Encouraging the expression of original ideas

Providing Opportunities for Practice

Using a personal example creative problem solving approach

Giving children the opportunity to actively ask questions

AT junior school age, a child in his imagination can already create a variety of situations. Being formed in the game substitutions of some objects for others, the imagination passes into other types of activity. In the conditions of activity, special requirements are imposed on the child's imagination, which induce him to arbitrary actions of the imagination. The teacher at the lesson invites the children to imagine a situation in which certain transformations of objects take place. Images, signs. These learning requirements encourage imagination development, but they need to be reinforced with special tools - otherwise the child will find it difficult to advance in arbitrary actions of the imagination. These can be real objects, diagrams, layouts, signs, graphic images, etc. It is useful to combine the perception of specific objects and their mental representation. So, it’s good to show a picture, and then invite the children to tell a story from memory without relying on a visual image, or first to explain, then present a visual allowance. All this develops the ability children to mentally represent objects and phenomena that cannot be perceived at the moment, that is, it helps development of the imagination.

The task of the teacher in primary school is to create in children a rich stock of ideas of memory and imagination. Instead of chaotic and often low-content fantasy, it is necessary to form in children such ideas that will become the basis of scientific concepts, will correctly reflect the surrounding reality.

Child junior school age in the conditions of education and training begins to occupy a new place in the system of social relations accessible to him. This is primarily due to its entry into school which imposes certain social duties on the child, requiring a conscious and responsible attitude towards it, and with his new position in the family, where he also receives new duties. AT junior school the age of the child for the first time becomes as in school, and in the family, a member of this labor collective, which is the main condition for the formation of his personality. As a consequence of this new position of the child in the family and in school is a change in the nature of the child's activity. Life in an organized school and teacher collective leads to complex development in a child, social feelings and to the practical mastery of the most important forms and rules of social behavior. The transition to the systematic assimilation of knowledge in school is a fundamental fact that forms personality elementary school student and gradually restructuring his cognitive processes.

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

Thus, creativity for elementary school students in the educational process implies the presence of abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness.

Development The child requires great attention from the adults around him. It is important to create a favorable psychological environment for the child to study, to find words of support for new creative endeavors treat them with sympathy and warmth. Gently, affectionately and unobtrusively support the child's desire for creativity.

Related publications:

Development of musical and creative abilities of younger students Theoretical foundations for the development of musical and creative abilities of primary school students in piano lessons 1.1. Psychological and pedagogical.

Diagnosis by E. E. Tunik to identify the level of development of research skills in primary school students In our country and abroad, fundamental research has been carried out on the psychology of research activity, general and special abilities.

Consultation "Game as a priority form of development of preschoolers and primary schoolchildren" Game as a priority form of development of preschoolers and primary schoolchildren. The world of childhood is unique! He has his own vocabulary, his own folklore, his own.

Course work (practical part) "Features of the memory of younger students" 1 Features of the memory of younger schoolchildren Objectively meaningless material sometimes intrigues children with its sound side: peculiar.

Summer is a wonderful time of the year when you can freely engage in creativity on the street and get development. Creativity is a process of activity.