Some methodologists (Kutuzov) believe that there is no need for special lessons on PP, since attention is paid to the development of speech in the system of teaching literature. Others (Bogdanova, Marantsman, Korovina, Leonov) believe that this problem is related to the overall development of schoolchildren and needs attention.
The problem of RR combines the efforts of 2 subjects - the Russian language and literature. The purpose of the work on the RR is socially significant. In order for the student to decide in later life, it is necessary to develop communication skills and skills, to form the ability to defend their opinions and beliefs in a highly organized verbal form.
The very specificity of literature as an educational subject for activating the speech development of students The impoverishment of one's own speech does not allow the student reader to feel the originality of the author's thought.
The development of speech in literature lessons is directly related to the analysis of a work of art. It is carried out in 2 directions:
1) systematic enrichment of the vocabulary of students with images, figurative and expressive means, theoretical and literary terminology,
2) learning to create coherent statements different types and genres.
Principles for teaching PP.
1. Interpenetration of educational, intellectual, artistic, aesthetic and speech development of schoolchildren.
2. The organic relationship of lessons on the development of speech with all components of classes in literature.
3. A variety of methods and techniques that stimulate the activity of students in literature lessons.
4. Compliance with continuity with the content and varieties of speech activity of students in primary, secondary and senior classes.
5. Practical direction of work on the development of speech.
6. The systematic nature of the work to improve the speech of schoolchildren.
7. Accounting for interdisciplinary connections of literature, the Russian language, history, fine arts and other subjects in the process of organizing the speech activity of schoolchildren.
8. Development oral speech
The development of oral speech is carried out in literature lessons in both middle and high school. 3 successive stages of the formation of speech activity.
1. Visual-auditory: establishing emotional contact with the interlocutor. Students observe, learn to listen to the teacher's monologue speech, compare, compare other people's statements.
2. Stage of direct communication. Purpose: formation of the ability to answer questions, conduct a dialogue, exchange thoughts, opinions.
Detailed answers to problematic questions, retelling, oral drawing, scripting,
Explanation of the meaning of the word, selection of synonyms,
In what situations in life would you use such an expression,
Think of a context for this word or expression.
3. The stage of self-knowledge and introspection. Purpose: teaching the skills of monologue utterance. This is facilitated by:
Extended answer to the question
A statement on a given topic in a particular genre.
At this stage, it is important to teach students how to build an utterance.
In the middle grades, dialogic skills are formed using the following techniques.
1. Formulation of questions.
2. Games (who correctly formulates the question, make questions for the crossword puzzle).
3. Oral work with reproductions and illustrations.
In the senior classes, the main attention is paid to the activation of speech activity. For example, with the help of vocabulary and phraseological work. (Comparison of the portrait of Pechorin and Bazarov).
The speech activity of schoolchildren needs constant stimulation in the form of oral monologues and speeches. Types of monologue speeches at literature lessons.
1. Reproductive (retelling).
2. Productive (report, artistic retelling, journalistic speeches).
The speech situation is one of the effective incentives that encourage students to speak. Leonov identified several types of RS:
Educational and didactic (problem),
Hypothetical (imagine you are a journalist)
Fantastic (imagine you are an old doorknob).
RS requirements. It should be of interest to students, should be aimed at speech development, its resolution should be deepened by the memory of literature, it should correspond to the age and psychological characteristics of students, and should take into account the characteristics of a literary work.
Scientists involved in this issue: Rybnikova, N.V. Kolokoltsev, E.N. Kolokoltsev, Korovina.
Questions of the history of literature in school studies. Biography of the writer in primary and secondary school.
The biography of the writer is an integral part of the monographic theme in the senior classes and part of the initial stage in the middle classes.
The facts of the writer's biography introduce the student to the era in which the work was created, which was reflected in it. It helps students to understand the content of the work. It can have an educational impact on students.
Studying B involves referring to different sources:
memoirs,
monographs,
Letters
That gives students additional cultural knowledge. The study of B at each stage of learning can have its own specifics. In grades 5-9, volume should be limited. Only the material that is directly related or relevant to the material being studied is given. Receptions and methods:
1) teacher's story (2-15 minutes),
3) student / s message (to improve the quality of the message, the teacher can give material, a plan),
4) excursion,
5) cinema (15 minutes).
In high school, work on B is focused on understanding the historical and literary process, the artistic world of the author.
Forms of lessons for the study of B:
Independent work with a textbook and additional materials,
Lesson-excursion (full-time/correspondence),
panorama lesson,
Cinema (with information or task before or after viewing).
B is studied in different volumes.
1. The life and work of the writer (Pushkin, Tolstoy).
2. Essay on life and creativity. Attention only to the main points in the life of the writer (Lermontov, Gogol).
3. Brief essay on life and work. The facts related to the studied work are touched upon (Fadeev).
4. Review (Fonvizin, Moliere).
The main form is a lesson-lecture.
1) the word of the teacher should not repeat the textbook,
2) do not overload the narrative with information and facts,
3) include information from memoirs, critical literature, from artistic and biographical works.
Extracurricular reading.
Extracurricular reading is an integral part of the educational work on the subject.
HF is one of the problems of modern technology. This is due to the fact that today's youth read little.
12% do not read at all. The quality of reading also leaves much to be desired. Only 20% is occupied by classics, the rest prefer: adventure, science fiction, fantasy, detective stories, glossy magazines.
The HF problem was singled out at the end of the 18th century by Vodovozov and Ostrogorsky. Since that time, she has been constantly in the field of view of the Methodists (Rybnikova, Golubkov, Zbarsky). In all modern programs, special attention is paid to this issue, a special heading is allocated: extra-curricular and independent reading.
The purpose of the HF is to encourage students to read, develop their aesthetic taste, and expand the readership.
The problem of HF has recently begun to be addressed at the state level: in 2006, a national program for the support and development of reading was adopted, in which the leading role is assigned to the school.
The main role in solving the problem of reading, along with the lessons of literature, belongs to the lessons of extracurricular reading.
These lessons must be conducted in a system determined by the teacher himself, but not less than 6 lessons per year. The order of conducting is determined by the teacher, he chooses the topics together with the students. This may be strict adherence to the program, or based on their own preferences, the teacher himself selects books.
HF lessons can be conducted in a traditional form (a conversation lesson in which the read works are discussed), but most often the lessons should be conducted in an unconventional way:
1) a lesson-journey into the world of the writer,
2) lesson-KVN,
3) discussion lesson,
4) lesson-conference,
5) lesson-round table.
HF lessons should be connected with the main literature lessons. This connection can be different:
1) communication by personalities,
2) problem-thematic connection,
3) connection by genre.
HF should be controlled by the teacher:
View reader's forms,
Viewing reader's diaries,
Holding special hours devoted to discussing opinions about books.
Negative ratings are not given.
Plan:
1. The place and significance of the development of students' written speech in literature lessons.
2. Methodological characteristics of written work.
3. Types of written work.
4. Methodological characteristics of the preparatory types of written work: cheating, writing out quotes, answering questions, drawing up plans.
5. Methodological characteristics of the main types of written work: presentations, essays.
Keywords: written speech, main types of written work, auxiliary types of written work, methodological characteristics, methods of presentations, essays.
Written work at school is educational in nature, i.e. aims to equip students with skills writing in all respects: the ability to correctly build a phrase, correctly write it down, convey the content of the read work, arranging the facts contained in it in a coherent and consistent manner, and be able to independently build one’s own essay that correctly reflects feelings and thoughts, or set out in writing the material of one’s observations. These problems are diverse, varying in degree of difficulty, and, of course, cannot be solved at school all at once. Starting in the first grades, the development of written speech proceeds gradually, becoming more complex and expanding in volume and variety of forms every year.
A feature of school written work is the fact that in each of them and at all levels of teaching the tasks of literacy in the broad sense of the word and the task of the internal content of the student's written speech is inextricably linked. Therefore, we can say that the division of students' works into purely grammatical, stylistic, and literary works should be considered to a certain extent conditional. As in essays, students should pay a significant role to their attention to syntactic and spelling issues, so in spelling and punctuation, texts taken from classical literary works expand students' literary skills, educate their taste, and enrich their skills. This does not mean at all, of course, that the teacher should set various tasks for students in each of the grammar or literature works, but the teacher must take this into account when setting up written work.
The complexity of the task facing the student when he performs written work, instilling or exercising a variety of skills, requires the teacher to pay maximum attention to the construction. Tasks for written work and the regularity of these tasks.
One of the main conditions for setting up any written work is its clear purposefulness. The teacher must clearly understand the purpose of the work proposed to the student and the results to which it should lead the student:
1) The task offered to the student for written work must be prepared by the teacher, i.e. reviewed and considered.
2) Students doing written work must clearly understand the task and know the ways and means by which the task is completed. In other words, students should be prepared to do written work. It should be preceded by a similar work in oral performance, providing a concrete understanding of how and how to do it.
3) The results of written work should be taken into account, i.e. students' work should be carefully checked, and the teacher should draw conclusions that determine the future direction of his teaching.
Written work related to the development of students' speech can be divided into two main groups: 1) works of an auxiliary nature and 2) works of independent importance (the main types of written work). The works of the first group include the already reviewed work plans for quoting, written answers to questions; the second group includes presentations, compositions based on a picture, creative writings of various types, characteristics, descriptions.
The division of written works into these types is to a certain extent conditional. There are such types of work that are of an intermediate nature; so, for example, characteristics or descriptions can also be statements if they follow the text of the work. On the other hand, the presentation, if it is a free and brief transfer of the ideological content of a large work, can be recognized as an essay, since in such work the student shows maximum independence. However, for the convenience of establishing the features of each style of work, we consider them separately, bearing in mind the possibility of intermediate forms.
Statement is the main type of writing in the middle grades, just like composing in the high grades. The writing exercise should begin from the second grade of elementary school, where children first engage in oral retelling, then collective writing, after which they begin to write independently.
The term "exposition" is often replaced by the words "retelling", "arrangement". Some methods distinguish between these names, giving (of course, conditionally) to these terms the following meanings:
Retelling (arrangement) call a transmission close to the read text.
Statement (extraction) - an abbreviated task of the text, in which the main facts or thoughts of the read article are stated.
In general, it should be borne in mind that in common usage the term "exposition" is a broad concept that covers a whole range of written works, ranging from an almost verbatim transmission of a read passage to a free transmission of the contents of several works related to the topic.
The essence of the presentation lies in the fact that the student, who listened to the text of the read work or passage, was able to solve three tasks that are posed:
2. Mastered the logical order of events, facts contained in the work;
3. Reflected in his work the style of the read text, i.e. features of the verbal form that distinguishes the proposed text. When the students have acquired the skill of a thoughtful attitude to what they read through exercises in drawing up a plan by oral retelling, only then can they begin to write an independent presentation.
It is clear that the order, the system of presentation depends on the nature of the material given for presentation. If in grade 3 the student is faced with the task of understanding the content and learning the language of the small fable "The Ant and the Dove", which occupies 5-6 lines, then in grades 6, 7.8 he is offered a much more complex text both in content and in stylistic features . Already one possibility is to vary the tests for presentations in terms of content, size, style, and so on. makes this type of work interesting for the teacher and rich in terms of variety of forms.
The presentation, correctly delivered, contains creative opportunities for students no less than other forms of written work. It is easy to verify this by comparing the works of students of the same class: in each of them there will be originality in vocabulary, composition, and style, although all works are sent from one theme, plan and images given by the artist. The propaedeutic nature of the presentation is precisely contained in the fact that the creativity of students is based on a number of data that help students in the development of written speech. Thus, presentation is a type of written work that educates students and preserves the possibility of creative manifestations for them. Retelling close to the text. The initial course of work on this type of presentation is built as follows:
1. The teacher chooses a short narrative story and after a short opening talk introductory character reads it.
2. After reading, there is an analysis and recording of unknown or little-known words and turns of speech.
3. Then the teacher and the class plan the story. The teacher writes the plan on the board, the students in their notebooks.
4. Secondary reading of the story is carried out in connection with the plan. after reading the first part of the story, the teacher indicates the title of the next part in the plan and continues reading. You can also discuss with students how to title the story and highlight some of the best options. Students who are skilled at finding titles will be able to do this on their own.
With such detailed preparation, the student cannot be at a loss for a written retelling. Experience shows that even low-achieving children can cope with the task quite well.
From a presentation close to the text, students move away as the size of the text increases, i.e. reading is given only once, students are independent in drawing up a plan, etc.
However, in order to diversify the types of written work and expand the independence of students, retelling with a change in form should also be used in the lower grades.
Retelling with shape change - this one the type of presentation is that the student’s work is complicated by an additional task, for example, when retelling, change the 1st person from whom the story is being told to the 3rd or give a presentation on behalf of another character (for example, transfer the meeting of Snowstorm with a shepherd boy on behalf of the latter ). This type of presentation will be a direct transition to an essay of a creative nature.
Works of this type require some skill, so they can be offered for written performance only after oral exercises, in which students practically understand how to do it.
Abbreviated Statement(extraction - this was the name of this exercise in the old methods) - the most popular type of written work in high school. Its types are very diverse and are closely related to the features of the book text.
If the test is extensive, for example, a story, a short story, a novel, then an abbreviated presentation is not an easy job. The main task in it will be to highlight the central episode, the backbone of the work, called the plot. When preparing such a retelling, the student may not write it right away; at the beginning he may have a comparatively broad retelling, but by compressing it to a minimum, crossing out everything that can be dispensed with, he will bring it to the most concise length.
From what has been said, it is clear that work of this nature teaches us to avoid verbosity, strives for expressive conciseness, and at the same time makes the student become very closely acquainted with the content of the text being presented.
This work is of particular interest if, in addition to the general task - to retell the content briefly - the task is given to put forward in the transmission one or another character trait of the characters or features of a dramatic nature, etc.
In preparing for the retelling, the student can shorten what seems to him less important for the task at hand, but convey in detail what will emphasize the necessary aspects of the character or situation.
In order to make clear the nature of the material offered for presentation of this type, we will name below several works that can be considered typical of individual classes.
When choosing a text for retelling and presentation, one must keep in mind not only the size and content, but also the language of the story or passage. The syntactic structure should be such that students can assimilate it and introduce new phrases into their presentation as a conscious acquisition. Therefore, the text should be not only in content, but also in syntactic and stylistic construction in terms of strength for students. The text should also be available from the spelling side, otherwise it will plant errors. If in an artistic test there are difficult turns of speech, then it is necessary either to refuse to take such a text, or to first explain to the students these turns of speech unknown to them. The often observed processing of a literary text in the sense of simplifying it must be recognized as unsuccessful, because they reduce the artistic value of the text, are a direct damage to it, which is unacceptable. The teacher must be zealous, careful attitude to the artistic word.
In the middle classes, the material for retelling should be simple and short stories or episodes with dynamically developing actions. Exemplary texts can be such well-known stories as “Shark”, “Jump” by L.N. Tolstoy, "On the Fire" (from Dubrovsky).
First you need to take narrative works with parts of a descriptive nature. This is, for example: "Lgov", I.S. Turgenev, "Grinev's Dream" (from the chapter "Buran"), a fable by I.A. Krylov's "Fox", "Crossing the Kama" Aksakov, etc. Then you need to move on to articles of a purely descriptive order, examples of which are the excellent descriptions of Aksakov (“Dove, “Magpie”, “Quail”, etc.) “Rusak” by L.N. Tolstoy, "Classroom" from "Childhood" by L.N. Tolstoy.
However, writers are not always inclined to give such direct characterizations. Pushkin, for example, does not devote much space at all to describing the external and internal features of his heroes (Dubrovsky, Pugachev, Grinev, Mironov), preferring to draw their characters in action and making only casual remarks about the appearance of the hero.
These differences in the writers' methods of characterization must be taken into account when choosing characterization topics for students. The first works on the characterization should be given for such works in which the materials for the characterization are given by the author himself, in the most detailed way.
Work on presentation of this type continues in the upper grades, where the task is complicated by the need to preserve the style of the story, the original manner of the writer.
General methodological remarks on the formulation of a written presentation. Considering certain types of presentations, we pointed out a number of different methodological techniques for staging them. There remain a few general questions concerning all the most popular types of presentation.
1. How to read text for writing? The text to be presented must be read with maximum clarity and expressiveness. So the teacher needs to read. The sometimes practiced reading of the text by the students themselves to themselves reduces the results of written work for obvious reasons: students do not read thoughtfully and attentively enough.
2. How many times to read the text? The number of readings (one or two) depends on various conditions: a) the nature of the text, b) the nature of the task or presentation, c) the age and experience of the students. Double reading reduces the student's independence in the presentation, it is permissible to read the story in full detail. But if the text is large, the plot is complex, and the students do not have sufficient skill in presenting, then it is permissible to read the story twice. This usually has to be done when the presentation plan is drawn up by the teacher together with the class. Then the workflow will be like this:
1. Introductory word of the teacher.
2. First reading of the story.
3. Drawing up a plan.
4. Second reading.
3. D shall we omit the text for presentation? It is acceptable if it is narrative in nature. Lyrical poems and poetic landscapes should not be given for presentation, since in these works the form is inseparable from the content.
In some respects, a poetic text for presentation even has a preference over a prose one: it forces students to be more independent in constructing the speech of the presentation.
Special mention should be made of the presentation "in one's own words" of a text (poetry or prose) learned by heart. This type of retelling must be recognized as undesirable, since, in essence, the work of the student here comes down to destroying the artistic form of the text he has learned by heart, consciously turning it into an artistic one. In the case when the student does not know the work by heart, he tends to approach the text from memory, which is a positive fact.
4. What is the volume of the text to be read for presentation? The size of the text depends on the degree of complexity of its content and form.
Written work on a painting can be of two kinds:
1. Presentation of the content of the picture.
2. Essay on the picture.
The task of presenting the picture is to accurately convey in a coherent oral or written story what the artist depicts in the picture. No moments preceding what is depicted in the picture. Thus, in describing the picture, the student conveys in words what the artist depicts in the picture with stories or other means for drawing.
An essay on a picture is a story about a picture, the content of which can be either the starting point or the final one. Such an essay in content always goes beyond the limits of the picture, supplementing it with either previous or subsequent events, sometimes including the episode given in the picture only as one of the moments of a coherent narrative.
In school practice, this second type of written work on a painting is more popular, until recently it was used mainly in the lower grades: in these classes, students are better acquainted with the narrative form of the composition. However, the presentation of the picture is more connected with the description, which is not yet known to the necessary extent by the students of the lower grades. With regard to teaching - the second type of written work on the picture is more valuable. A common shortcoming of students is that they do not know how to see the picture: its details, which are very important in the overall composition of the picture, are often not noticed, and the general intention of the artist remains incomprehensible and unaccepted by the students. The situation here is analogous to the perception of a literary work: just as a teacher teaches meaningful reading, he must teach to look at and understand pictures that have the same artistic components as a literary work.
The presentation of the picture is a good way to develop students' observation skills, teach them to think about what they see, and understand the relationship between the content of the picture and the means of its expression in the visual arts. In expanded form, this task is within the power of students in grades 8 and later. However, this does not mean that the presentation of the picture should be used only in these classes. It is also necessary to develop observational skills, the ability to tell with the necessary accuracy what you see, what impression it makes on you, in the lower grades.
The plan that the teacher himself will offer at the beginning to present the content of the picture will also help the students in this regard. According to this plan, students must examine the picture, indicate the central and secondary figures and objects, their arrangement, the characteristic details of the picture, its background, the prevailing tones or colors, etc. It goes without saying that the picture, like a literary work, should be feasible for elementary school students. The plot of the picture can be understandable and the manner of depiction is realistic.
Particularly interesting are the works on the picture in cases where the content of the picture is thematically more or less close, but is not a direct illustration of the work read by the students. Usually the plot of such a picture, evoking familiar motives in the student's ideas, awakens him to realize and motivate those modifications that are in the picture. This is valuable in that it cultivates the student's observational skills and, on the other hand, forces him to creatively describe and combine these new motives in his essay. Such, for example, is the painting by V. Makovsky “Night”. Work on this picture after reading and analyzing Bezhin Meadows can be very interesting for students in the 7th grade. The picture is thematically close to Turgenev's story, but does not coincide with it in everything: there are eight children (Turgenev has five), among them one girl, there is no fire, there is no figure of a hunter (Turgenev). But the figure of a boy telling something that captivated the listeners, the features of the face and clothes of each of them, the landscape (early summer morning, before sunrise) - all these features are "Turgenev" and will certainly evoke in the memory of children the corresponding descriptions and characteristics from "Bezhin meadows."
Compositions are one of the important forms of work on the development of speech, and reading lessons provide quite rich material for them. Oral compositions and preparation for writing are most often carried out at reading lessons. Reading texts allow the teacher to acquaint children with the peculiarities of the language of works of art and business articles, work on a plan, on the logical harmony of the text, on some literary concepts necessary for writing.
However, the work on essays suffers from some significant shortcomings.
As the study of the work of teachers shows, in many schools there is a uniformity in the types and themes of children's compositions. The themes “How I spent my holidays”, “Autumn”, “Winter”, “Spring” are very common. Much less often are essays based on the material of industrial excursions, essays - descriptions, comparisons at the beginning, etc. Very rarely, children write essays on social topics, essays - reasoning, essays on a proverb.
In this regard, it is important to consider the types of essays available to primary school students, as well as their topics. This will help the teacher in planning work on the development of speech, in developing a system of oral and written compositions for his class, taking into account the requirements of continuity and perspective.
We approached the consideration of types of essays from different points of view and classified them according to six criteria:
1) By genre: a) narrative; b) essays - descriptions; c) essays - reasoning.
2) By style: a) emotional, figurative, approaching works of art; essays like a business article.
3) By training methods: a) collective, requiring general training; b) individual.
4) According to the sources from which materials for essays are drawn: a) essays based on observation or other forms of students' live experience; b) essays on book material: in connection with what was read, characteristics, works such as abstracts, reviews; c) compositions based on a picture, a series of pictures, a filmstrip, a motion picture, a play, etc.; d) essays that combine materials from the observations of the student himself with information gleaned from books or other sources; e) essays - "Fantasy", built on fictional material.
5) According to the form of content transfer: a) written; b) oral.
6) According to the purposes of conducting: a) training; b) control;
We note a few more general requirements for essay topics: firstly, the topic should interest the student, should be close to him; secondly, the topic should be clearly formulated, be quite specific; thirdly, the topic should not be too broad.
In elementary grades, the topic is usually identified with the title. But in many cases it is already possible to show in practice that essays on the same topic can be titled differently. For example, essays on the topic “Who will I be” may receive different titles depending on who the author of the essay is going to become.
To develop students' oral speech means to make it more logical, accurate, expressive and figurative. And if all the lessons little by little make the student’s speech logically correct, accurate and meaningful, then expressiveness and figurativeness, emotionality, coherence and intonation richness are acquired to a greater extent thanks to literature lessons. The first illustrative example, a sample of sounding speech for students, is the living word of the teacher. From the 5th grade, children begin to compare the stories of teachers of different subjects. The manner and style of the teacher's story is imitated, capturing the features of intonation, like words and expressions. This imitation in the 5th grade is more conscious than in elementary school: children's attention appears to the exact, intonationally rich, meaningful and expressive word. Choosing the most appropriate form of presentation depending on the topic, the teacher seeks to make his story as emotional as possible and most correctly leading to the topic. The example of the teacher is also very important in the formulation of the question, the answer, a short but clear and precise review of what has been read or told. It is necessary not only to follow the exact wording of your own question, but also to show that it is important for schoolchildren to take into account when formulating a question in general. Students listen to the questions of the teacher, read the questions given in the anthology, try to say themselves.
No less responsible is the word of the teacher who evaluates the student's work: what is the student's answer, how correct, meaningful, emotional is it, what is interesting about his speech, what are his mistakes in reading? Unfortunately, the teacher's oral reviews sometimes come down to the following: "I did not read very expressively, sit down, three." What his mistake or mistakes, the student did not find out. Another time, he will receive the same grade and the same "exhaustive" review. In many cases, it is useful to reinforce the word of the teacher by reading the articles placed in the textbook by students.
The textbook articles are based on the works of famous folklorists, literary critics, and writers. It is important to hear how certain words, phrases sound, and what you hear is to understand, comprehend and partially introduce into your own speech. In many articles, words are used in a figurative sense, this teaches schoolchildren to master such words before reading a work of art. Each article contains certain vocabulary. Reading about the works of oral folk art, students learn and introduce new words and expressions into their speech (oral folk art, passed down from generation to generation, the treasures of folk poetry), master new terms, definitions (proverbs, sayings, fairy tales, riddles). In addition, the construction of phrases and the lexical features of the articles will warn students against mixing words that can be used in one story about a writer or era, but are unacceptable in another. variety of these exercises. For example: “Ivan is a peasant son and a miracle Yudo” (expressively read aloud the passage to which the drawing refers. Read how it is told ... about the three battles of Ivan the peasant son) - the task sets you up for preparing to read fragments of a fairy tale, selective reading, for example, read a description of nature - in this case, you can resort to more complex exercises: during the preparation of expressive reading, pay attention to the description of nature, the features of this description. An integral part of the work of a literature teacher in each lesson is vocabulary work. It is carried out during the story of the teacher himself, including difficult words in the fabric of the narrative, and while reading articles about writers, and during the analysis of a work of art or students' retellings. When conducting vocabulary work, it is necessary to distinguish between words of active and passive vocabulary. For example, words that need to be explained (troll, Christmas Eve, slingshot, arrow, etc.) so that the meaning of what is read is understood, and words that can be entered into
Written speech Oral and written speech are closely interdependent, and therefore the methodology for the development of oral and written speech of schoolchildren in literature classes has much in common. it should be borne in mind its specific features that distinguish it from oral speech. The forms of written speech are monologic, it is characterized by logical orderliness, the rigor of constructing phrases, the presence of not only coordinating, but also subordinating constructions, the widespread use of conjunctions, and the use of a variety of synonyms. The methodology of teaching literature has paid and continues to pay considerable attention to the development of the written language of schoolchildren in the process of studying works of art. V.V. Golubkov, M.A. Rybnikova, S.A. Smirnov, N.V. Kolokoltsev Special attention both in past decades and in modern methodical literature paid to the theory and practice of school composition. Types of exercises for the development of writing in middle school students The work on the development of written speech of students is diverse and depends on: a) the age characteristics of students, b) the level of their literary and speech development, c) the type and genre of the work of art, on the basis of which speech work with schoolchildren is carried out, and d) the cognitive tasks set by the teacher. and communication tasks. Composition and presentation. A STATEMENT is a written retelling of a text that has been read or listened to and analyzed. ESSAY represents the writer's own reflections on the read and analyzed work of art or its passage in various written speech genres. In the presentation, the writer reproduces ready the text of the work or an excerpt from it, in the essay is created own text.
First of all, the writings are divided by methodologists into two main groups: writings on literary themes(essays related to the literature course) and essays based on personal impressions, life observations and experiences of students. A variety of methods for analyzing major epic and dramatic works in high school lead to a variety of student essays on a literary theme. Among them, the following types of essays can be distinguished: 1. Essays about literary heroes (individual, group, comparative characteristics of character images). In such themes, the image of a hero comes to the fore from social, moral, philosophical, artistic and aesthetic problems associated with the image of a given hero or a number of heroes of one or more works of one era. 2. Essays based on the analysis of the work as a whole, in which, in turn, themes are highlighted that require: a) evaluation of the entire work; b) consideration of the moral, social, philosophical problems posed in this work; and iv) analysis of the artistic form of the work3. Analysis of individual episodes and parts of the work4. Literary reviews such as "The fate of the Russian village in the literature of the 50-80s. XX century. ”,“ Man and his time in the stories of A.S. Solzhenitsyn5. Reasoning (reflection) of students about the attitude of literature to life (“What did the study of Russian classical literature give me”, “You can only believe in Russia (F.I. Tyutchev). 6. Essays-studies of a problematic nature (“Is Bazarov a revolutionary?”, “Did I kill myself or an old woman? (Based on the novel by F.M. Dostoevsky “Crime and Punishment”)”, “Is Molchalin funny or scary?”
17. N.V. Gogol's poem "Dead Souls": genre, problems, images, composition. Author's position in the novel. The pinnacle of N.V. Gogol's work was the poem "Dead Souls". Starting to create his grandiose work, he wrote to Zhukovsky that "all Russia will appear in it!" Gogol put the main contradiction of contemporary reality between the gigantic spiritual forces of the people and their bondage as the basis for the conflict of the poem. Realizing this conflict, he turned to the most pressing problems of that period: the state of the landlord economy, the moral character of the local and bureaucratic nobility, the relationship of the peasantry with the authorities, the fate of the people in Russia. In Gogol's poem "Dead Souls" a whole gallery of moral monsters, types, which have become common nouns, is displayed. Gogol consistently depicts officials, landowners and the main character of Chichikov's poem. The plot of the poem is built as a story of the adventures of Chichikov, an official who buys up "dead souls." Almost half of the first volume of the poem is devoted to characterizing various types of Russian landowners. Gogol creates five characters, five portraits that are so different from each other, and at the same time, typical features of a Russian landowner appear in each of them. The images of the landowners whom Chichikov visits are presented in contrast in the poem, since they carry various vices. One after another, each spiritually more insignificant than the previous one, the owners of the estates follow in the work: Manilov, Korobochka, Nozdrev, Sobakevich, Plyushkin. If Manilov is sentimental and sweet to the point of cloying, then Sobakevich is straightforward and rude. Their views on life are polar: for Manilov, everyone around them is beautiful, for Sobakevich they are robbers and swindlers. Manilov shows no real concern for the welfare of the peasants, for the welfare of the family; he entrusted all management to the rogue clerk, who ruins both the peasants and the landowner. But Sobakevich is a strong owner, ready for any scam for the sake of profit. Manilov is a careless dreamer, Sobakevich is a cynical fist-burner. Korobochka's heartlessness is manifested in petty hoarding; the only thing that worries her is the price of hemp, honey; "Not to sell too cheap" and the sale of dead souls. Korobochka reminds Sobakevich of stinginess, a passion for profit, although the stupidity of the "clubhead" brings these qualities to a comical limit. "Accumulators", Sobakevich and Korobochka, are opposed by "squanderers" - Nozdrev and Plyushkin. Nozdryov is a desperate wast and reveler, a devastator and destroyer of the economy. His energy turned into scandalous
vanity, aimless and destructive. If Nozdryov let his entire fortune go to the wind, then Plyushkin turned his into one appearance. Gogol shows the last line to which the mortification of the soul can lead a person by the example of Plyushkin, whose image completes the gallery of landowners. This hero is no longer so much ridiculous as scary and pathetic, because, unlike previous characters, he loses not only spirituality, but also his human appearance. Chichikov, seeing him, wonders for a long time whether this is a man or a woman, and, finally, decides that the housekeeper is in front of him. Meanwhile, this is a landowner, the owner of more than a thousand souls and huge pantries. True, in these pantries bread rots, flour turns into stone, cloth and canvas into dust. A no less terrible picture is presented to the eye in the manor house, where everything is covered with dust and cobwebs, and in the corner of the room “a pile of things that are coarser and unworthy to lie on the tables are piled up. It was difficult to decide what exactly was in this heap,” just as it was difficult “to get to the bottom of what the owner’s dressing gown was concocted from. How did it happen that a rich, educated man, a nobleman turned into a "hole in humanity"? To answer this question. Gogol refers to the hero's past. (He writes about the rest of the landowners as about already formed types.) The writer very accurately traces the degradation of a person, and the reader understands that a person is not born a monster, but becomes one. So this soul could live! But Gogol notices that over time a person submits himself to the laws prevailing in society and betrays the ideals of youth. All Gogol's landowners are bright, individual, memorable characters. But with all their external diversity, the essence remains unchanged: having possession of living souls, they themselves have long turned into dead souls. We do not see the true movements of a living soul either in an empty dreamer, or in a strong-minded housewife, or in a “cheerful boor,” or in a landowner-fist resembling a bear. All this is just an appearance with a complete lack of spiritual content, which is why these heroes are ridiculous. Convincing the reader that his landlords are not exceptional, but typical, the writer also names other nobles, characterizing them even by their last names: Svinin, Trepakin, Blokhin, Kisses, Careless, etc. Chichikov. A joyless childhood, devoid of parental love and affection, service and an example of bribe-taking officials - these factors formed a scoundrel who is the same as his entire environment. But he turned out to be more greedy in the pursuit of acquisitions than Korobochka, callous Sobakevich and Nozdrev in the means of enrichment . In the final chapter, supplementing Chichikov's biography, he is finally exposed as a clever predator, acquirer and entrepreneur of the bourgeois warehouse, a civilized scoundrel, the master of life. But Chichikov, differing from the landlords in enterprise, is also a "dead" soul. The "shining joy" of life is inaccessible to him. The happiness of a “decent person” Chichikov is based on money. Calculation ousted all human feelings from him and made him a "dead" soul. Gogol shows the appearance in Russian life of a new man who has neither a noble family, nor a title, nor an estate, but who, at the cost of his own efforts, thanks to his mind and resourcefulness, is trying to make a fortune for himself. His ideal is a penny; marriage is thought of by him as a bargain. His passions and tastes are purely material. Having quickly guessed the person, he knows how to approach everyone in a special way, subtly calculating his moves. The inner diversity, elusiveness is also emphasized by his appearance, described by Gogol in vague terms: “A gentleman was sitting in the britzka, neither too fat nor too thin, one cannot say that he was old, but not so that he was too young.” Gogol was able to discern in his contemporary society the individual features of the emerging type and brought them together in the image of Chichikov. The officials of the city of NN are even more impersonal than the landowners. Their deadness is shown in the ball scene: people are not visible, muslins, atlases, muslins, hats, tailcoats, uniforms, shoulders, necks, ribbons are everywhere. The whole interest of life is concentrated on gossip, gossip, petty vanity, envy. They differ from each other only in the size of the bribe; all loafers, they have no interests, these are also "dead" souls. But behind the "dead" souls of Chichikov, officials and landowners, Gogol discerned the living souls of the peasants, the strength of the national character. In the words of A. I. Herzen, in Gogol's poem, "behind dead souls - living souls" appear. The talent of the people is revealed in the dexterity of the coachman Mikheev, the shoemaker Telyatnikov, the bricklayer Milushkin, the carpenter Stepan Cork. The strength and sharpness of the people's mind were reflected in the glibness and accuracy of the Russian word, the depth and integrity of the Russian feeling - in the sincerity of the Russian song, the breadth and generosity of the soul - in the brightness and unrestrained fun of folk holidays. Unlimited dependence on the usurping power of the landlords, who doom the peasants to forced, exhausting labor, to hopeless ignorance, gives rise to stupid Mityaev and Minyaev, downtrodden Proshek and Pelageya, who do not know “where the right is, where the left is”, submissive, lazy, depraved Petrushki and Selifanov. Gogol sees how high and good qualities are distorted in the realm of "dead" souls, how desperate peasants die, rushing into any risky business, just to get out of serfdom. Not finding the truth from the supreme power, Captain Kopeikin, helping himself, becomes the ataman of the robbers. The Tale of Captain Kopeikin reminds the authorities of the threat of a revolutionary uprising in Russia. Serfdom death destroys the good inclinations in a person, destroys the people. Against the backdrop of the majestic, boundless expanses of Russia, the real pictures of Russian life seem especially bitter. Depicting in the poem Russia "from one side" in its negative essence, in "stunning pictures of triumphant evil and suffering hatred", Gogol once again convinces that in his time "it is impossible otherwise to direct society or even the whole generation to the beautiful, until you show all the depth of his true abomination.” V. G. Belinsky called the poem “Dead Souls” by N.V. Gogol “a creation snatched from the hiding place of folk life, a creation deep in thought, social, public and historical. One had to be a poet to write such a poem in prose ... a Russian national poet in the entire space of this word. Neither in the story, nor in the story, nor in the novel can the author so freely intrude his "I" into the course of the story. Digressions, organically introduced into the text, help the author to touch on various problems and aspects of life, to make complete description heroes of the poem. The theme of patriotism and writer's duty is further developed at the end of the poem, where Gogol explains why he considers it necessary to show evil and denounce vices. As proof, the author cites a story about Kif Mokievich and Mokiya Kifovich, exposing those writers who do not want to draw harsh reality, who “turned a virtuous person into a horse, and there is no writer who would not ride him, urging him with a whip and everything that horrible." The author's lyrical digressions about Russia and the people are closely connected with the theme of writer's duty, patriotism. With amazing depth, Gogol depicts the gray, vulgar feudal reality, its poverty and backwardness. The tragic fate of the people is especially reliably highlighted in the images of serfs, tavern servants. Drawing the image of the fugitive peasant Abakum Fyrov, who loved the free life. Gogol shows a freedom-loving and broad nature, which does not put up with the oppression and humiliation of serfdom, preferring to it the difficult but free life of a barge hauler. Gogol created a truly heroic image of the Russian hero, which has a symbolic character. Russia of "dead souls", always snacking, playing cards, gossiping and building its well-being on abuse. Gogol contrasts the lyrical image of folk Russia. Throughout the poem, the affirmation of the common people as its positive hero merges with the glorification of the Motherland, with the expression of patriotic judgments. The writer glorifies "the lively and lively Russian mind", his extraordinary ability for verbal expressiveness, prowess, sharpness, love of freedom. When the author turns to the images and themes of folk life, to the dream of the future of Russia, sad notes, a soft joke, genuine lyrical animation appear in the author's speech. The writer expressed his deep hope that Russia would rise to greatness and glory. In the poem, Gogol acted as a patriot in whom faith in the future of Russia lives, where there will be no Sobeviches, Nozdrevs, Chichikovs, Manilovs ... Depicting in the poem in parallel two Russias: local-bureaucratic and popular. Gogol in the last chapter "pushed" them and thereby once again showed their hostility. A fiery lyrical digression about love and the motherland, about the recognition of its great future: “Rus! Russia!.. But what kind of incomprehensible, secret force attracts you?.. What does this vast expanse prophesy?.. Russia!..». - is interrupted by a rude shout of the courier, galloping towards Chichikov's britzka: "Here I am with your broadsword! .." Thus, Gogol's beautiful dream and the ugly autocratic reality surrounding him met and passed by. An important role in the poem is played by the image of the road. At first it is a symbol of human life. Gogol perceives life as a hard journey, full of hardships, at the end of which cold, uncomfortable loneliness awaits him. However, the writer does not consider it aimless, he is full of consciousness of his duty to the Motherland. The road is the compositional core of the story. Chichikov's chaise is a symbol of the monotonous whirling of the soul of a Russian person who has gone astray. And the country roads along which this cart travels are not only a realistic picture of Russian impassability, but also a symbol of the crooked path of national development. The "bird-troika" and its impetuous years are contrasted with Chichikov's britzka and its monotonous circling off-road from one landowner to another. "Bird Troika" is a symbol of the national element of Russian life, a symbol of the great path of Russia on a global scale. But this road is no longer the life of one person, but the fate of the entire Russian state. Russia itself is embodied in the image of a troika bird flying into the future: “Oh, troika! bird troika, who invented you? to know that you could only be born among a lively people, in that land that does not like to joke, but spread out halfway around the world. Russia, where are you going? Give an answer. It does not give an answer ... everything that is on earth flies past ... and other peoples and states give it way.
18. Main ideas, themes, images of A. and Kuprin's creativity. Analysis of one of the works in a literature lesson at school. The problem of man and the world around him can be considered on the example of the works of A. Kuprin. The writer's work was for a long time, as it were, in the shadows, he was obscured by the bright representatives of his contemporary prose. Today, the works of A. Kuprin attract the reader with their simplicity, humanity, democracy in the noblest sense of the word. The world of heroes is colorful and crowded. He himself lived a bright life filled with diverse impressions - he was a military man, a clerk, a land surveyor, and an actor in a traveling circus troupe. Kuprii said many times that he did not understand writers who did not find anything more interesting in nature and people than themselves. The writer is very interested in human destinies, while the heroes of his works are most often not lucky, prosperous, satisfied with themselves and life people, but rather, on the contrary.. But A. Kuprin treats his outwardly unsightly and unlucky heroes with the warmth of humanity that has always distinguished Russian writers. "Garnet Bracelet". The story was written in 1911. Its plot is based on a real event - the love of a telegraph official Zheltoy P.P. to the wife of an important official, member of the State Council Lyubimov. Lyubimova's son, the author of well-known memoirs, Lev Lyubimov recalls this story. In life, everything ended differently than in the story of A. Kuprin - the official accepted the bracelet and stopped writing letters, nothing more is known about him. In the Lyubimov family, this incident was remembered as strange and curious. Under the pen of the writer, he appears as a sad and the tragic story of the life of a little man who was uplifted and destroyed by love. This is transmitted through the composition of the work. It will provide an extensive, unhurried exposition, which introduces us to the exposition of the Sheins' house. The very story of extraordinary love, the story of the garnet bracelet, is told in such a way that we see it through the eyes of different people: Prince Vasily, who tells it as an anecdotal incident, brother Nikolai, for whom everything in this story is seen as offensive and suspicious, Vera Nikolaevna herself and, finally, , General Anosov, who was the first to suggest that here, perhaps, true love lies, "which women dream about and which men are no longer capable of." The circle to which Vera Nikolaevna belongs cannot admit that this is a real feeling, not so much because of the strange behavior of Zheltkov, but because of the prejudices that rule them. Kuprin, wishing to convince us readers of the authenticity of Zheltkov's love, resorts to the most irrefutable argument - the hero's suicide. Thus, the right of the little man to happiness is affirmed, but the motive of his moral superiority over the people who so cruelly offended him, who failed to understand the strength of the feeling that made up the whole meaning of his life, arises. The text of the work includes the theme of the inevitability of the death of the protagonist - it is conveyed through the symbolism of light: at the moment of receiving the bracelet, Vera Nikolaevna sees red stones in it and anxiously thinks that they look like blood. Finally, the theme of the clash of different cultural traditions arises in the story: the theme of the east - the Mongolian blood of Vera and Anna's father, the Tatar prince, introduces the theme of love - passion, recklessness into the story; the mention that the sisters' mother is an Englishwoman introduces the theme of rationality, dispassion in the sphere of feelings, the power of reason over the heart. In the final part of the story, a third line appears: it is no coincidence that the landlady turns out to be a Catholic. This introduces into the work the theme of love-worship, which in Catholicism surrounds the Mother of God, love-self-sacrifice. The hero of A. Kuprin, a small man, faces the world of misunderstanding around him, the world of people for whom love is a kind of madness, and, having faced it, dies. //"); //]]>
19. Problems and artistic originality of A.S. Pushkin's prose. Its significance for the formation and subsequent development of realistic Russian prose. Analysis of one of the prose works. Belkin's Tales is a completely new phenomenon in Pushkin's work. This is the first completed prose idea of the poet. The cycle includes 5 short stories: a stationmaster, a shot, a peasant lady, a blizzard, an undertaker. The stories were created during September-October 1830. The narration is conducted on behalf of Ivan Petrovich Belkin, this person is fictitious. From the preface From the publishers and the History of the village of Goryukhin, it becomes known that Belkin is a meek and humble person, retells in his stories the stories he heard from different people: a colonel, a St. Petersburg adviser, a clerk, a girl. Therefore, in the narrative, the voices of the authors of the stories, Belkin, and Pushkin himself interact, intruding into the text, through digressions, remarks, epigraphs. Through Pushkin's light irony, the reader looks at everything that happens and at Belkin himself, although formally the author only has the role of a publisher. As Chernyshevsky rightly noted, Pushkin was the first to describe Russian customs and the life of various classes of the Russian people with amazing fidelity and insight. With outward artlessness and simplicity style Pushkin's work is an artistically complex phenomenon. This is reflected in the choice of problems, plots and heroes. From the stories of Belkin, a small man begins his genealogy in Russian literature. Belkin's stories are a bilingual text in terms of genre, and require reading both in the language of an anecdote and in the language of a parable. The artistic bipolarity of Belkin's Tales is explained primarily by the presence of two deep genre sources of cyclical formation, which marked the beginning of classical Russian prose. These origins are pre-literary genres, parable and anecdote. It is important to note that in Pushkin's text the parable is called "the story of the prodigal son", which puts it on a par with all other "stories" of the book - up to the "stories" of the old housekeeper Belkin. Belkin’s Tales” conjugate these genre polarities: to the same extent that anecdotalism destroys their parable seriousness, it, in turn, undergoes universalization on the part of the parable strategy of genre thinking. The hero of the anecdote Belkin (in the first note of the Publisher we read: “There follows an anecdote, which we do not include, believing it to be superfluous”) and the parable characters of popular prints are non-plot figures of the cycle. Framing the fictional reality of the “stories”, they remain on the borders of the literary plot, since they completely belong: the first one to the national-historical everyday life, the second - to the non-historical and non-national universal existence. Analysis of the story "The Stationmaster".
20. The study of life and creative way writer in literature class. When studying a literary work at school, we strive to combine the reader's perception of students and an objective scientific interpretation of a literary text. It is important for the teacher to "ensure" the true moral impact of the writer's biography on schoolchildren. K. Paustovsky in The Book of Wanderings wrote: “Each written book is, as it were, the core of some kind of nebula raging in a person, a star that was born from this nebula and acquires its own light. Perhaps only one hundredth of our life we enter into the narrow boundaries of our books. Obviously, one of the tasks of the school study of the biography of the writer is to show how and what impressions of life and art are melted down by the artist in his work. . The evolution of the views and moods of the artist, the social, moral and aesthetic aspects of this evolution should be "represented" in the lessons on the study of biography, artists specifically. It is necessary to cover more deeply the reasons for the psychological and creative originality of writers, more often to compare their fates, views, feelings. and organic for the author of the work. The program defines the genres of studying the writer's personality in high school in various ways. expand to give students a change in the stages of their lives and literary activities. When the program talks about the need to give a biography, the teacher can offer the class a generalized portrait of the writer, without tracing the chronological outline of his life in sequence. Finally, there is such a wording in the program: "Life and literary activity." Here it is necessary to show the connection between biography and literary work, to pay more attention to the creative activity of the writer. When studying life path L. N. Tolstoy, for example, students need to show how the attitude of the writer to himself, to life, to art is changing, that for him, with these changes, remains enduring. The role of worldview in the formation of personality, consistent work on oneself, the development of a program of inner life, the desire to become aware of oneself and understand the reasons for one's actions, to give a certain direction to developed and natural qualities (will, impressionability, etc.) - all these questions can be raised when mastering the biography of Leo Tolstoy, firstly, because it provides rich material for their solution, and, secondly, because students of the ninth grade are keenly interested in these issues. Tolstoy's life and work prompt us to pose a number of questions of an aesthetic order ( what is the relationship between the concepts of "good" and "beauty"? What imprint does the personality of the artist leave on the works he created?). environment, oppose him if this influence is alien to his ideals. Chekhov himself realized his life as squeezing a slave out of himself drop by drop. How did this happen, why did the writer succeed? Such questions cannot help but contribute to the formation of the worldview of ninth-graders. The study of the writer's biography should arouse students' interest in his personality, his ideological quest, reflected in his work. The biography and creative path of the writer is the key to the difficult moments of studying a work of art included in the school curriculum. Separating a biography from studying the creative path of a writer, making a biography as a preface to a textual analysis of a work is possible in grades IV-VII. There such a construction is justified and necessary.
As you know, a speech development lesson is a kind of Russian language lessons, where presentation and composition are traditionally considered the main exercise. In this case, it is opposed, for example, to a grammar lesson. At the same time, it is considered that such a lesson is the prerogative of the secondary school. In this regard, it seems relevant to develop a typology and structure of such lessons.
Methodists have developed two points of view on the types of Russian language lessons - a broad view and a narrow understanding. So, depending on the content of the educational material, a lesson in the Russian language in the narrow sense is, first of all, a lesson in grammar, phonetics, etc. In a broad sense, it is supplemented by a lesson in the development of speech, which in its essence is only a control lesson in composition or presentation. It is now possible with full right to include here the lesson of literature. The approaches of the methodologists of elementary school and middle level do not coincide here. So, the lesson of speech development, although it is singled out in the “Dictionary-Reference Guide to the Methods of the Russian Language” as a separate type, has not yet taken its rightful place in elementary school. The position of methodologists in this case is quite understandable: “The lesson of the Russian language is, first of all, a lesson in the development of speech and thinking of students. This requirement is due to the specifics of the academic subject itself, the social function of which is revealed in the communicative function of the language” (M. R. Lvov, T. G. Ramzaeva).
Meanwhile, the communicative approach to the study of language and the development of speech, which is proclaimed today as one of the leading ones and is implemented in a number of "speech" courses, involves the introduction of a special lesson in the development of speech (SDR). However, the methodology for such a lesson has not yet been developed. This gap is partly filled by the guidelines given by the authors of modern communication-oriented programs. Nevertheless, the theoretical and practical issues of the lesson methodology are not solved in this way. It is necessary to comprehend the specifics of the URR in comparison with other types of Russian language lessons.
First of all, the hallmark of a speech development lesson is purposeful work on the main types of speech activity - writing, speaking, reading and listening. The traditional methods and techniques for the lesson of the Russian language, as well as exercises, are no longer enough if we consider the work on the development of speech as a system. The fact is that teaching only the skills of coherent speech does not exhaust the whole variety of tasks in this area and does not come down only to the generation of statements (texts of presentations or essays). It is impossible to ignore the task of enriching the vocabulary and grammatical structure speech of students, work on the culture of speech (teaching the norms of the language), which should also be purposefully carried out in special "speech" lessons. Thus, the objectives of the RRR, in comparison with the traditional ones for the lessons of the Russian language, are significantly expanding. These include:
- - enrichment of vocabulary and grammatical structure of students' speech; teaching the choice of accurate, expressive, language means appropriate for a given speech situation;
- - teaching the norms of the language and the expedient, appropriate use of it, depending on the speech situation, on the meaning and style of the statement;
- - improvement and development of speech activity of students, i.e. processes of generation and perception of speech, at all levels of the language (phonetic, lexical, morphological and syntactic);
- - development of the basic qualities of "good" speech.
In order to more clearly outline the specifics of speech development lessons, let's compare them with various types of Russian language lessons (in their narrow sense), for example, a grammar lesson - on the one hand. On the other hand, differences can be identified when compared with the lessons of literary reading. So, in the lesson of the Russian language, the study of units of the language and training in their application takes an important place. Since this is connected with the main sections of linguistics, we can say that linguistics dominates in the Russian language lesson and language “reigns”.
At the lesson of literature, the focus is on a literary work in the unity of its ideological, semantic, structural and linguistic sides. Here everything is determined by the artistic text.
At the lesson of speech development, the main attention is paid to the speech activity of students, which is manifested both in oral and in written forms. The purpose of such a lesson is, based on the knowledge gained about the language, to purposefully enrich the lexical and grammatical structure of children's speech, to teach them to perceive
(and understand) someone else's speech, as well as build their own statements (texts) in accordance with the norms of the Russian language. Speech as an activity of using the language for the purpose of communication, cognition, influencing other people determines the content and structure of the speech development lesson.
Let us dwell in particular on the lesson of literature, which has become unusually popular recently due to the fact that a new course "Russian literature" appeared in secondary school, and "Introduction to Russian literature" in elementary school. The subject “Russian Literature” once occupied a worthy place in the national school, as it was distinguished by its developing, educational capabilities and humanistic orientation. In the modern sense, this is an integrated course that combines elements of literary and linguistic knowledge, bringing together the lessons of the Russian language and literature. The main activity in the lesson of literature is the analysis of the text in the unity of its ideological, figurative, linguistic and compositional means.
The speech development lesson has much in common with the literature lesson. However, there are also differences. So, according to AI Vlasenkov, the course of practical literature is aimed at mastering both the language and literature, to a greater extent even literature. Since in such a lesson the work is built mainly on the texts of works of art studied at school, then "its result is a creative reading of program literary works, a deep understanding of their form, and through form - content" . Meanwhile, at the lessons of speech development, work is carried out not only on the text, not only on the perception of speech - here the students create their own statements in various forms. In addition, at the lesson of speech development, purposeful, systematic, non-aspect work is carried out to enrich the vocabulary and grammatical structure of students' speech, and attention is also focused on the education of a culture of speech, a culture of communication. Thus, the tasks of speech development lessons are broader than those of literature lessons, since they cover a wider range of problems. The speech development lesson performs broader functions: the training, education and development of students is carried out here not only and not so much due to in-depth penetration into the linguistic and literary patterns of the text (which is typical for classes with in-depth study of the subject), but also due to the various speech activities of students . Thus, the urgent problems of the mass school, the problems of educating a linguistic personality with a culture of speech communication are solved.
Let us briefly characterize the features of speech lessons. The specificity of the speech development lesson (SDR) is already in its very name: priority is given to the speech development of a linguistic personality. In addition, features are manifested in the goals, content, typology of lessons, as well as in teaching methods and techniques.
The main goals of RRR:
- - formation communicative competence and development of linguistic personality, improvement communication skills and creative abilities;
- - enrichment of vocabulary and grammatical structure of students' speech; teaching the norms of the language and their use in speech;
- - teaching the skills of speech culture and speech communication;
- - development of the main types of speech activity: speaking, writing, listening and reading;
- - the development of thinking and the formation of processes of mental activity (analysis and synthesis, abstraction and generalization) by means of the language used in speech;
- - Familiarization with basic speech concepts theoretical basis language learning and speech development.
The way of mastering knowledge on URR - not receptive, not reproductive, but mainly heuristic, exploratory.
New knowledge is discovered by the student independently, in the process of observing speech (exemplary texts). Observation forms general educational skills to analyze, compare, draw conclusions and contributes to the development of thinking. The direction of development of the child's speech-cogitative activity is the ascent from the general to the particular, from the abstract to the concrete. The basis for this is a system of generalized speech concepts (according to V.V. Davydov). Students perform not reproducing, but transforming activities in the lesson.
AT basis learning content in the lessons of speech development there is a system of speech concepts - a system of theoretical knowledge about speech, its forms, types, properties. The introduction of practical and cognitive speech tasks into the content of the lesson is another characteristic feature of the URS. Exercises are cognitive questions that lead students to the topic of the lesson. Decision practical tasks in accordance with the speech situation, it contributes to the development of cognitive needs in students, forms a positive motivation for them to master speech skills, and ensures the conscious assimilation of knowledge. The absence of rules in the traditional sense, the replacement of ready-made definitions with a system of questions and tasks, algorithms and memos allows the child to be led to independent generalizations and conclusions. The predominance of exercises of a search and creative nature contributes to the activation of the mental and speech activity of students.
In the lesson of speech development, in comparison with the traditional lesson of the Russian language, the the nature of the interaction between teacher and student. The role of the teacher is to manage the cognitive and speech activities of the child, to organize a joint search and solution of cognitive problems, to create speech situations with a high developmental potential. The child is the subject of various types of speech activity within the framework of educational speech situations. The culture of speech communication is assimilated by children not only in the form of theoretical knowledge (“you can / cannot say this way”) - it permeates the entire content of the speech development lesson and is implemented here in practice, in the course of educational dialogues.
Lesson structure dictated by the goals and content of learning tasks and speech situations. This includes primarily structural elements, as:
- - introduction to the speech situation and the creation of speech motivation;
- - definition of a learning task, finding methods and algorithms for solving it;
- - organization of educational and speech activities for the perception or generation of statements in oral and written form;
- - control and analysis with subsequent adjustment of the created statements and texts; conclusions and generalizations regarding the achieved goals of speech.
Based on the classification of lessons depending on didactic goals, which is given in general form by G. N. Prystupa, we present a typology of lessons in the development of speech.
The main types of speech development lessons:
- - lesson explaining educational material (combined lesson);
- - a lesson in consolidating the material and developing skills and abilities in various types of speech activity;
- - a lesson in repetition of material and development of communication skills;
- - a lesson in summarizing the material and improving communicative and language competencies;
- - a lesson in testing knowledge and skills (control);
- - a lesson in working on mistakes (in essays and other written works).
The school has developed such a practice when a lesson in the development of speech is also a control lesson (a lesson in composition or presentation). This significantly slows down the process of developing speech skills, since it does not correspond to the principle of consistency and gradualness. A speech development lesson should be built taking into account the learning stage, and therefore it can be an explanation lesson, a generalization lesson, and a control lesson.
Thus, a speech development lesson as a kind of Russian language lesson is characterized by the specifics of goals, content, teaching technology, as well as the features of interaction between a teacher and a student.
- Vlasenkov A.I. On the course of practical Russian literature // РЯШ, 1996. No. 6. P. 10.
FINAL CERTIFICATION WORK
Pedagogical project "Development of oral speech in literature lessons"
Completed: Isachenko Ekaterina Ilyinichna,
graduate of professional
retraining in the direction
"Fundamentals of pedagogical activity"
CONTENT
Contents …………………………………………………………………………………… 2
Introduction …………………………………………………………………………………...…. 3-5
Description of the project ……………………………………………………………………………… 6-10
Evaluation of the success of the project …………………………………………………… 11-19
Conclusion ………………………………………………………………………………...….. 20
References ……………………………………………………………………………… 21
INTRODUCTION
Project passport
Project implementation site
Teacher of Russian language and literature Isachenko E.I.
Project Hypothesis
Purposeful, consistent and systematic work on teaching oral speech to schoolchildren will be effective if an appropriate system of exercises for the development of oral speech is used in the learning process.
Goals and objectives of the project
The goal is to introduce a system of tasks and exercises to develop students' oral speech skills.
To study the methodological base on the problem indicated in the project topic;
Reveal the role and importance of the development of oral speech skills in the educational process;
Select exercises and tasks for the development of students' oral speech in literature lessons.
Project participants
Students of grades 5-8, teachers of Russian language and literature
Strategy and mechanisms for achieving the set goals (project stages, main work in the project)
The project involves the introduction of exercises and assignments, both offered by the teaching materials and additional ones, corresponding to four stages: Grade 5, Grade 6, Grade 7, Grade 8
Projected short-term and long-term results of the project implementation
The formation of oral speech at one of the stages of the project is a short-term result, a long-term result is an assessment of the formation of oral speech based on the results of the project, at the end of grade 8
Indicators and criteria for the success of the project
The ability to express one’s thoughts clearly, in accordance with the norms, will be assessed during summing up activities (the final section of seminars, colloquia, conferences) and the implementation of current daily tasks (pre-prepared oral reports, answers to an oral survey, during a conversation, analysis of a controversial situation and etc.)
Further development of the project
Selection of exercises and tasks for students in grades 9-11
Practical significance of the project
The material can be used to improve work in literature lessons with middle school students
The problem of the development of oral speech of students is becoming increasingly important these days. Mastering speech is a necessary condition for the formation of a socially active personality. Speech is the most important indicator of the spiritual culture of the individual. Speech is inseparable from moral and ethical beliefs and human behavior. Philosophers and orators of the past associated true eloquence with the high moral level of the speaker. Therefore, one a of the most important tasks for present stage student learning- development of speech activity.
To develop students' oral speech means to make it more logical, accurate, expressive and figurative. And if all the lessons little by little make the student’s speech logically correct, accurate and meaningful, then expressiveness and figurativeness, emotionality, coherence and intonation richness are acquired to a greater extent thanks to literature lessons.
When I first came to school, I faced the problem of insufficient development of oral speech of 5th grade students in literature lessons. From the elementary school, the children brought the understanding that in the lessons of literary reading it is necessary to read expressively. And for a long time they could not and did not want to understand that literature is not literary reading that you need to read a lot at home, that you should learn to analyze and correctly express your thoughts both orally and in writing.
The relevance of the project is related with the increasing role of the spoken word in the cultural life of the country, the ability to correctly express one's thoughts is very valuable in the modern world. D Children need to be taught how to build coherent oral statements in order to improve their communicative competence.
The object of the project is the process of developing students' oral speech skills.
The subject of the project is a system for developing schoolchildren's oral speech skills.
The aim of the project is to develop a system of tasks and exercises for the development of students' oral speech skills.
The hypothesis of the project is the assumption that purposeful, consistent and systematic work on teaching oral speech to schoolchildren will be effective if an appropriate system of exercises for the development of oral speech is used in the learning process.
The goal, subject and hypothesis of the project involved the solution of the following main tasks:
- to study the methodological base on the problem indicated in the project topic;
- to identify the role and importance of the development of oral speech skills in the educational process;
- select exercises and tasks for the development of students' oral speech in literature lessons.
The project participants are students of grades 5-7, teachers of the Russian language and literature. The practical significance of the study is determined by the material (the developed system of exercises), which can be used to improve work in literature lessons with middle school students.
PROJECT DESCRIPTION
The development of students' speech culture is the most important direction in the theory and practice of literary education. A great contribution to the development of the problem was made by F.I. Buslaev, V.Ya. Stoyunin, V.P. Ostrogorsky, V.P. Sheremetevsky, V.V. Golubkov, A.D. Alferov, M.A. Rybnikova, N.M. Sokolov, S.A. Smirnov, N.V. Kolokoltsev, modern scientists K.V. Maltseva, M.R. Lvov, T.A. Ladyzhenskaya, V.Ya. Korovina, N.A. Demidova, T.F. Kurdyumova, N.I. Kudryashev, M.V. Cherkezov and others.
The works of leading methodologists became a prerequisite for the development integrated system development of students' speech in the lessons of the Russian language and literature. The convergence of literary and speech development is the most important condition for comprehending literature as the art of the word. Speech abilities are similar to literary ones and are part of them (the ability to think in verbal and artistic images, the ability to independently create texts, speech works).
In the problem of speech development of students, psycholinguistic, linguodidactic and methodological-literary approaches are distinguished.
Assimilation of language and speech most effectively occurs in the process of communication. The lesson is a multifaceted communicative system, interpersonal interaction within the student team, inscribed in the interaction between the teacher and students.
Pedagogical communication in the literature lesson has a peculiar content. Literature itself is a form and means of communication and requires the organization of communicative conditions. Ideas, images of a work of art are perceived and comprehended in the form of an aesthetic experience. The aesthetic perception of the work in the process of its study should increase as it deepens, become more conscious.
The design of classes in literature is in many ways similar to the psychological laws that determine the creative process in art. The teacher of literature composes a lesson in such a way that the degree of emotional resonance that certain fragments of a literary text have when it is studied in class is taken into account. A holistic emotional picture becomes manageable. The teacher, based on the general tasks of training and education and specific goals this lesson, gets the opportunity to regulate and cause the necessary reaction of students to what they read. Emotional "infection" of schoolchildren is carried out in an atmosphere of collective artistic perception, mutual exchange of aesthetic emotions.
Interpersonal communication is not only a science, but also an art. Preparedness for it is determined not only by acquired logical knowledge, but also by intuition, emotional susceptibility. Communication implies a response to suddenly emerging circumstances, it requires improvisation from the teacher, the ability to make lightning-fast decisions. However, intuition without an objectively conceived model of communication cannot bring due success. The teacher needs a long and continuous work to improve their own communicative and performing qualities. Without work on oneself in terms of the development of a communicative and creative culture, it is impossible to organize the right pedagogical interaction with kids.
The communicative approach in teaching literature is one of the most important means of ensuring a productive perception and understanding of works of art by students. The effectiveness of the work of a philologist depends on his ability to create an atmosphere of universal aesthetic experience in the classroom in his subject. The dictionary organizes the educational activities of schoolchildren, their communication; manages these processes; "infects" schoolchildren with aesthetic emotions, which serve as a necessary condition for the comprehension of art and a key means of artistic and pedagogical interaction. In the situation of aesthetic communication, interpersonal relations are activated, thanks to which the communication between the teacher and students in the literature lesson serves as the foundation for a directed and organized process of teaching literature.
The linguodidactic approach orients teachers and schoolchildren to the formation of skills to purposefully build speech works that have certain stylistic features. For the development and improvement of speech-creative skills, exercises are offered, the implementation of which helps to increase the level of language and literary creativity of schoolchildren.
The leading principle of organizing work to improve the speech activity of students is the inextricable unity of this work with the analysis of a work of art, with intellectual, moral and artistic and aesthetic development - the formation of a spiritual personality in a broad sense. This is a fundamental position arising from philosophical and linguistic understanding, indicated in the works of V.V. Golubkova, M.A. Rybnikova, N.V. Kolokoltsev, who warned teachers against a formal approach to classes to improve the speech culture of schoolchildren, from tearing them away from work on literary education and moral and aesthetic education.
The task of the teacher is to organize the life and literary impressions of students. If the meeting with the work excited, a source of thoughts and feelings will appear, which will become an incentive for the verbal processing of experiences, reasoning.
The development of speech should take place on the basis of speech activity - an active, purposeful process of creating and perceiving statements.
Principles of development of speech activity:
1) the interaction of the moral, intellectual, artistic, aesthetic and speech development of the student;
2) the organic relationship of work on the development of speech with all components of classes in literature;
3) a variety of methodological forms and techniques;
4) compliance with the continuity of speech development with previous classes;
5) the practical orientation of work on the development of speech and its approximation to real life situations and art forms;
6) the systematic nature of the work;
7) accounting for intersubject communications.
– systematic (work on the development of speech is required when studying any topic, compliance with the age sequence);
–
– the continuity of the content and varieties of students' speech activity (from text reproduction to their own creativity; from mastering the genre of utterance in oral speech to its written embodiment; from speech genres based on life impressions to statements on literary topics, essays about art);
– practical orientation of the work (working out specific speech skills and abilities);
–
vocabulary enrichment - vocabulary and phraseological work with the text of a work of art and literary critical materials;
improving the coherence of speech - retelling, presentation; various types and genres of monologue statements on literary topics (comments on the text, written answers to questions; plans; essays; reasoning, remarks in heuristic conversation);
teaching expressiveness of speech - expressive reading;
teaching the logic of thinking and the logic of speech - work on a textbook article, literary critical articles; messages and reports, conceptual presentations at seminars;
enrichment of speech in an emotional and figurative sense - analysis of figurative and expressive means, stylistic tasks, artistic retelling, oral verbal drawing, writing a film script.
To achieve the set goal - the introduction of a system of tasks and exercises for the development of students' oral speech skills; and the implementation of the project "Development of oral speech of students in literature lessons" it is necessary to create a coherent system.
Literature lessons should give the language of schoolchildren an emotional coloring, make their language more subtle and demanding in the sense of conveying all sorts of shades in the surrounding life. This position can be taken as the basis for highlighting the stages of the project:
a) The formation of oral speech in all students at the level of creating reproductive statements (reproducing and creative retelling of a literary text, retelling of textbook articles, fragments of literary and literary-critical articles, etc.) (V class);
b) The formation of oral speech in all students at the level of creating reproductive statements (reproducing and creative retelling of memoirs and epistolary materials), productive statements (detailed oral answer, message, report; literary review, critical study, story or report on a work of art, etc.). e.) (VI cl.);
c) The formation of oral speech in all students at the level of creating productive statements (critical essay, "word about the writer", speech of the guide, director's commentary, speech about the hero of the work, oratory, reportage, etc.) (VII class);
d) The formation of oral speech among all students at the level of creating productive statements (poems, stories, essays, plays independently composed by schoolchildren; artistic and biographical story, story about a literary event, artistic sketch, etc.) (VIIIclass).
The working plan of the project implementation is determined by the tasks of the project.
Studying materials on the topic of the project in theory;
Defining the strategy and mechanisms for achieving the project goal;
Drawing up a work plan;
Definition of project results;
Selection of tasks and exercises corresponding to the stage of the project (one of four) and the characteristics of the development of students in the classroom;
Identification of criteria for the success of the project;
Identification of risks threatening the implementation of the project;
Identification of the further development of the project.
In accordance with this structure, it is possible to determine the short-term results of the project implementation - the results achieved at one of the stages; and long-term results - at the end of the entire project, at the time of completion of the children's education in the 8th grade.
The tasks and exercises selected and improved in practice in a particular class in the middle level of literary education will create a good prospect for continuing work and development in the senior level.
ASSESSMENT OF THE SUCCESS OF THE PROJECT IMPLEMENTATION
Improving speech activity in the process of studying literature is based on the principles:
systematic;
a variety of methodological forms and techniques that stimulate the creative speech activity of students;
continuity of the content and varieties of speech activity of students;
practical orientation of work;
taking into account interdisciplinary connections of literature, language, history, MHK, etc.
For the development and improvement of speech-creative skills, exercises are offered, the implementation of which helps to increase the level of language and literary creativity of schoolchildren. These are exercises to implement the role-playing principle of speech development; exercises with elements of developing productive artistry of speech, skills of art criticism, aesthetic analysis of the text, creating directorial remarks and other interpretive techniques.
Thus, work on the development of speech should be carried out in a system so that each academic work represented a step forward from the already learned, from simple to complex. Work on the development of speech in high school includes the development of the following skills:
1. Comprehend the topic, respecting its boundaries;
2. Draw up a plan for the statement;
3. Select material related to the creation of the statement;
4. Present the material consistently;
5. Collect material and systematize it;
6. Build your statement in a certain genre;
7. Use various synonymous means of the language;
8. Make a summary and abstracts;
9. Make a message, report, speech.
Based on this, various types of exercises are distinguished: word interpretation, grouping by topic, analysis of exemplary texts, compilation of phrases, sentences, coherent text.
The methodology of teaching literature puts forward the following methods as the main areas of work on the development of the speech of schoolchildren:
vocabulary enrichment (vocabulary and phraseological work with the text of a work of art and literary critical materials);
improving the coherence of speech (retellings, presentations; various types and genres of monologue statements on literary topics (comments on the text, written answers to questions; plans; essays; reasoning, remarks in heuristic conversation);
teaching expressiveness of speech (expressive reading);
teaching the logic of thinking and speech (work on a textbook article, literary-critical articles; messages and reports, conceptual presentations at seminars);
enrichment of speech in an emotional and figurative sense (analysis of figurative and expressive means, stylistic tasks, artistic retelling, oral verbal drawing, writing a film script).
It is not easy for modern children to understand classical works due to the fact that they do not own the vocabulary of that time. Often today's students cannot explain the meaning of those words that were understood by adults when they were in school. Teaching Materials for Literature V.Ya. Korovina gives the meaning of incomprehensible words in the footnotes, but not all. Therefore, it is necessary to carry out vocabulary and phraseological work in a much larger volume than is proposed by the UMC. Students keep dictionaries of literary terms. Is it advisable to keep separate dictionaries for such incomprehensible words? I don't think so. Modern students are children with clip perception of information. It is easier for them to perceive and remember pictures, infographics. Therefore, vocabulary and phraseological work must be accompanied by a presentation in which a link is attached to each new or incomprehensible word, opening a separate slide with the interpretation of the word and an example of its use in other texts. Of course, with the obligatory pronunciation of the word and its meaning by students.
The most important technique that contributes to the assimilation of the content of the work and the development of the speech of middle school students is retelling. There are types of retellings:
1) free (based on the first impression and its transmission as a whole);
2) artistic (close to the text of the author, not only conveys the content in detail, but also reflects the artistic features of the text);
3) short / concise (outlining the main content of the read, the logic and style of the source text are preserved, but details are omitted);
4) selective (based on the selection and transmission of the content of individual fragments of the text, united by one topic);
5) retelling with a change in the face of the narrator (outlining the content on behalf of one or another hero, in the third person).
The student must master each of these types. Often, students miss important details, trying not to lose the thread and not get away from the content. And Mazepa can be called Maria's boyfriend quite seriously. Therefore, inV- VIclasses, it is necessary to refer as often as possible to the retelling of texts read independently. And gradually complicate the retelling in high school.
Widespread types of oral monologue of students in literature lessons are reports and messages. Reports and messages that develop orientation in the search and selection of material, develop their own judgment, the ability to write a review of a book read, a movie watched, a performance are most effective in speech development lessons. Schoolchildren perform with them when studying review topics, in classes on the writer's biography, in the analysis of works of art, in concluding and generalizing classes, and in extracurricular reading lessons. According to the purpose and methods of organizing the material, the reports can be conditionally divided into informative, research and problem-debating. And use them in increasing complexity of training in accordance with the level of development of the class.
In literature classes, expressive reading of three types is used: expressive reading of the teacher; expressive reading of students; reading masters of the sounding word.
The expressive reading of the teacher usually precedes the analysis of the work and is the key to its understanding. Often a good teacher's reading yields more insight than a thorough debriefing. N.V. Gogol in his article “Reading Russian poets to the public” emphasized: “Reading a lyrical work properly is not at all a trifle, for this you need to study it for a long time. One must sincerely share with the poet the lofty feeling that fills his soul; you need to feel every word of it with your soul and heart.
Student performance concludes the analysis, serves as an indicator of the depth of penetration into the text. In each class, the program provides for works that students memorize by heart. The development of a culture of reading poetry and fiction is a complex and lengthy process. The work must be carried out in a planned manner. Preliminary training exercises are important: reading one sentence with different intonation, reading after the sample, listening to several different performances of one work and discussing their manner, reading contests.
Very important here is the opportunity to listen to the work in the actor's performance. Appendix to the TMC V.Ya. Korovina is a phono-reader - audio recordings of works available in a regular reader. And electronic educational resources posted on the Internet also offer various options for expressive reading of poetic and prose works. Students in my classes enjoy participating in expressive reading contests. At the level of an educational organization, they, unfortunately, are almost never carried out. For three academic years, two municipal competitions were organized, and I managed to participate in one of them after passing the school selection. At the classroom level, we hold such events about twice a year, after completing sections of poems about native nature and the Great Patriotic War. The class is divided into groups: readers, jury, critics. A photographer is a must for this event. Each student works in accordance with his task, there are no those who do not participate in the competition in any way. The teacher observes the course of the competition, the readers speak, the jury members fill out the evaluation sheets and count the amount of points scored, express their opinion on the expressive reading of the contestants, critics note good moments and shortcomings in reading. Such a competition ends with the awarding of certificates to the winners and certificates to the participants.
Learning expressive reading is facilitated by oral verbal drawing (description of pictures that arise in the imagination); choral reading (in unison, in a single intonation key); collective recitation (different parts of the text by different students); reading in faces, by roles (fables, dialogues in epic works).
V.V. Golubkov closely connected the foundations for the formation of the oral speech of schoolchildren with the theory and practice of oratory. Determining the features of oral speech (live expressive word, improvisation, direct communication of the speaker with the audience).
Literature lessons have great opportunities for dialogue forms. For example, to organize role-playing dialogues: meetings of literary characters, dialogues of literary critics, etc. Role-playing (game) dialogues increase students' interest in reading and studying literature, stimulate speech activity.
Acquaintance of students with the regularity of dialogical speech and mastering the techniques of conducting a dialogue is carried out through the analysis of episodes of literary works containing dialogues, taking into account already acquired knowledge (type of dialogue, speech styles, communication situation, etc.).
For the development of speech, the reproduction of the dialogue of literary characters is used. Reproducing the conversation of literary characters, students intensively enrich their vocabulary through the use of the vocabulary of this artistic text and organically combine it with the vocabulary that they are fluent in. Reproduction, and not a simple retelling of the dialogue of characters, stimulates the emotional expressiveness of speech, the ease of their communication, and this also facilitates the assimilation of a literary text.
Stimulation of speech activity is also carried out by an active influence on the thoughts and feelings of students, which can be achieved by conducting a non-standard lesson. These are debates, concerts, seminars, quizzes, etc., which have a common task that unites them - instilling interest in learning in general and in literature lessons in particular. Among the effective ones are the following techniques for the development of oral speech in literature lessons.
Poetic five minutes. At the beginning of each lesson, one to two students read poems that they have memorized or prepared for expressive reading; read or retell an excerpt from the text of a literary work they like. The use of poetic five-minute sessions introduces students to the poetics of their native language, develops the aesthetic taste of students, and forms a linguistic culture. Even with passive listening to poetic texts read by others, the children acquire the skills of perceiving a poetic text, which has a positive effect on their study of literature in general.
In addition to starting the lesson with a five-minute poetic session, you can set the guys up for literature with a brief retelling of a book recently read, in addition to the school curriculum. Such a beginning can be offered by the teacher, "infecting" many reading children with an emotional story. Of course, there are few of them, since modern children prefer entertainment to mental work and reading as well. But with the appropriate incentives, about half of my class, for example, will want to get involved in such work.
Advanced homework assignments. The essence of using advanced tasks in a literature lesson is that the most prepared children are invited to complete a task, the content of which will be updated in the next lessons. The student must independently build the logic of the oral response, choose from the proposed literature the most interesting, from his point of view, facts, examples, prepare a short, but emotional and meaningful message.
Debating conversation between the heroes of a literary work. The discussion unfolds between the two heroes of the work, in the role of which the students act. The guys figuratively imagine themselves in the role of the characters of the work, who entered into a dialogue, dispute, discussion. Defend the point of view of the hero they represent. The rest of the students do not just passively listen, but answer the question posed before the start of the discussion.
With the help of a discussion conversation between the heroes of a literary work, students are introduced to research work on the text, the ability to build detailed speech statements is formed, the ability to resist one's opponent not only in literature lessons, but also in everyday life. It is important that the guys come to the realization that the main thing in the discussion is to find the truth, and not to satisfy their pride.
Acting out and analysis of speech situations. At the beginning of the lesson, before discussing the key issue on this topic, three or four students, preferably inactive ones, are given task cards that contain certain material for reflection (statement by a famous person, interpretation of literary phenomena, memoir evidence, etc.), a question is raised that requires evaluation, expression of one's own position. The speaker follows the course of discussions, independently enters into the discussion at the right and convenient moment. Speaking, the student can quote the material of the card or retell it in his own words or refer to it, accompanying his own reasoning.
Meeting of the club "literary critics". The content and organization of the meeting of the club of "literary critics" is prepared by the student most capable of literature, elected chairman of the "club"; the teacher provides him with the necessary assistance in planning and selecting material. The study group is familiarized with the list of works to be discussed in advance. In the process of reading the works, students write down the questions they have that they would like to receive an answer at the club meeting. The chairman distributes the questions received in advance among the speakers, who must include them in the context of their statements.
The use of simulation exercises in literature lessons contributes to the further development of intellectual, speech skills of students in the preparation of various genres of statements. At the same time, the guys try to give their speech such qualities as accuracy, logic, relevance, accessibility, brevity, euphony.
Oral analysis of the psychological portrait of a literary hero. The children are invited to supplement the literary portrait with their own description, characterizing the psychological state of the hero, and on this basis to prepare a coherent oral presentation. At the end, students make oral presentations.