Perception of children of preschool age of fiction. Peculiarities of perception of fiction by preschoolers Evaluative judgments of preschool children are still primitive, but they testify to the emergence of the ability not only to feel

Features of the perception of fiction by preschoolers

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• Introduction
• Conclusion
• Appendix 1

Introduction

One of the main causes of problems in modern society is the low level of culture of its members. An important component of the general culture is the culture of behavior. The norms of behavior determine what is generally accepted and acceptable in the actions of a member of society, and what is not. Uniform and generally accepted rules ensure a high level of relationships and communication in society.

The culture of behavior is an important part of the universal culture, morality, and morality. Therefore, it is so important to teach a child to distinguish between good and evil everywhere and in everything, to respect others and treat them the way he would like to be treated, to instill in the child a sense of justice. By instilling cultural behavior skills in a child, we contribute to the development of society. Research by V.I. Loginova, M.A. Samorukova, L. F. Ostrovskaya, S.V. Peterina, L.M. Gurovich show that one of the most effective means of educating a culture of behavior in children of older preschool age is fiction. Fiction influences the child's feelings and mind, develops his receptivity, emotionality, consciousness and self-awareness, forms a worldview, and motivates behavior.

In psychology, the perception of fiction is considered as an active volitional process, which involves not passive contemplation, but an activity that is embodied in internal assistance, empathy for the characters, in the imaginary transfer of “events” to oneself, in a mental action, resulting in the effect of personal presence, personal participation. E.A. Flerina called the unity of "feeling" and "thinking" a characteristic feature of such perception.

In poetic images, fiction opens and explains to the child the life of society and nature, the world of human feelings and relationships. It enriches emotions, educates the imagination, and gives the child excellent examples of the Russian literary language.

Fiction arouses interest in the personality and inner world of the hero. Having learned to empathize with the heroes of the works, children begin to notice the mood of the people around them. Humane feelings are awakened in children - the ability to show participation, kindness, protest against injustice. This is the basis on which adherence to principles, honesty, and citizenship are brought up. The child's feelings develop in the process of mastering the language of those works with which the educator introduces him.

The artistic word helps to understand the beauty of sounding native speech, it teaches him the aesthetic perception of the environment and at the same time forms his ethical (moral) ideas. According to Sukhomlinsky V.A., reading books is a path along which a skillful, intelligent, thinking educator finds the way to a child's heart.

The educational function of literature is carried out in a special way, inherent only in art - by the force of the impact of the artistic image. According to Zaporozhets A.V., the aesthetic perception of reality is a complex mental activity that combines both intellectual and emotional-volitional motives. Teaching the perception of a work of art in psychology and pedagogy is considered as an active volitional process with an imaginary transfer of events to oneself, a "mental" action with the effect of personal participation.

The relevance of the research topic is due to the fact that fiction is a powerful effective means of mental, moral and aesthetic education of children, which has a huge impact on the development and enrichment of their inner world.

fiction preschool perception

Purpose of the study: to reveal the peculiarities of children's perception of fiction.

The object of the study is the perception of preschool children.

The subject of the study is the peculiarities of the perception of fiction by preschool children.

The hypothesis of the study was the assumption that the perception of fiction can influence the culture of children's behavior in the selection of works, taking into account the content of the work and the age-related psychological characteristics of preschoolers.

Research objectives:

1. Select and study the scientific psychological and pedagogical literature on the problem under consideration.

2. Analyze the main characteristics of children's perception and features of the perception of works of art by children of preschool age.

3. Conduct an experimental study of the characteristics of the perception of fiction by children of preschool age.

Research methods: theoretical analysis of psychological, pedagogical and special literature; methods of observation and comparison, quantitative and qualitative processing of the collected materials.

The methodological basis of the study was the works

L.S. Vygotsky, S.L. Rubinstein, B.M. Teplova, A.V. Zaporozhets, O.I. Nikiforova, E.A. Flerina, N.S. Karpinskaya, L.M. Gurovich and other scientists.

Practical significance: the results obtained can be used in the work of a practical psychologist, educators and parents of children in solving the problems of shaping the personality of a preschooler.

Research base: MBDOU "Child Development Center Kindergarten No. 1" Brook ", Mr. Anapa.

The structure of the work: the work consists of an introduction, two chapters, a conclusion, a list of references from 22 sources.

Chapter 1. Dynamics of perception during preschool childhood

1.1 Perceptions of preschool children

Perception is a holistic reflection of objects, phenomena, situations and events in their sensually accessible temporal and spatial connections and relationships; the process of forming - through active actions - a subjective image of an integral object that directly affects the analyzers. It is determined by the objectivity of the world of phenomena. Occurs with the direct impact of physical stimuli on the receptor surfaces of the sense organs. Together with the processes of sensation, it provides a direct-sensory orientation in the external world. Being a necessary stage of cognition, it is always connected to some extent with thinking, memory, and attention.

Elementary forms of perception begin to develop very early, in the first months of a child's life, as he develops conditioned reflexes to complex stimuli. The differentiation of complex stimuli in children of the first years of life is still very imperfect and differs significantly from the differentiation that occurs at an older age. This is due to the fact that in children the processes of excitation prevail over inhibition. At the same time, there is a great instability of both processes, their wide irradiation and, as a consequence of this, the inaccuracy and inconstancy of differentiations. Children of preschool and primary school age are characterized by a low level of detail in their perceptions and their high emotional richness. A small child, first of all, highlights shiny and moving objects, unusual sounds and smells, i.e. anything that evokes his emotional and orienting reactions. Due to lack of experience, he still cannot distinguish the main and essential features of objects from secondary ones. The conditioned reflex connections necessary for this arise only as you act with objects in the process of playing and practicing.

The direct connection of perceptions with actions is a characteristic feature and a necessary condition for the development of perception in children. Seeing a new object, the child reaches out to it, picks it up and, manipulating it, gradually highlights its individual properties and aspects. Hence the great importance of the child's actions with objects for the formation of a correct and more and more detailed perception of them. Great difficulties for children are the perception of the spatial properties of objects. The connection of visual, kinesthetic and tactile sensations necessary for their perception is formed in children as they become practically acquainted with the size and shape of objects, operating with them, and the ability to distinguish between distances develops when the child begins to walk independently and move more or less significant distances. Due to insufficient practice, visual-motor connections in young children are still imperfect. Hence the inaccuracy of their linear and deep eye. If an adult estimates the length of the lines with an accuracy of 1/100 of the length, then children 2-4 years old - with an accuracy not exceeding 1/20 of the length. Especially often, children make mistakes in the size of distant objects, and the perception of perspective in a drawing is achieved only towards the end of preschool age and often requires special exercises. Abstract geometric shapes (circle, square, triangle) are associated in the perception of preschoolers with the shape of certain objects (children often call a triangle a "house", a circle - a "wheel", etc.); and only later, when they learn the name of geometric figures, do they have a general idea of ​​​​the given form and its correct distinction, regardless of other features of objects. Even greater difficulties for the child is the perception of time. In children 2-2.5 years old, it is still quite vague, undifferentiated. The correct use by children of such concepts as "yesterday", "tomorrow", "earlier", "later", etc. in most cases, only about 4 years are noted; the duration of individual periods of time (an hour, half an hour, 5-10 minutes) is often confused even by six-seven-year-old children.

Significant shifts in the development of perception in a child arise under the influence of verbal communication with adults. Adults introduce the child to the surrounding objects, help to highlight their most important and characteristic aspects, teach how to act with them, answer numerous questions about these objects. Learning the names of objects and their individual parts, children learn to generalize and differentiate objects according to the most important features. To a large extent, children's perceptions depend on their previous experience. The more often the child encounters various objects, the more he learns about them, the more fully he can perceive and in the future more correctly reflect the connections and relationships between them.

The incompleteness of children's experience, in particular, also explains the fact that when perceiving little-known things or drawings, young children are often limited to listing and describing individual objects or their parts and find it difficult to explain their meaning as a whole. Psychologists Binet, Stern and some others who noticed this fact made the wrong conclusion from it that there are strict standards for the age characteristics of perception, regardless of the content of what is perceived. Such, for example, is Binet's scheme, which establishes three age levels of children's perception of pictures: at the age of 3 to 7 years - the stage of listing individual objects, at the age of 7 to 12 years - the stage of description and from 12 years - the stage of explanation, or interpretation. The artificiality of such schemes is easily detected if children are presented with pictures with close, familiar content. In this case, even three-year-old children are not limited to a simple enumeration of objects, but give a more or less coherent story, albeit with an admixture of fictional, fantastic explanations (S. Rubinshtein and Ovsepyan). Thus, the qualitative originality of the content of children's perception is caused, first of all, by the limitedness of children's experience, the insufficiency of the systems of temporary connections formed in past experience, and the inaccuracy of differentiations developed earlier. The patterns of formation of conditioned reflex connections also explain the close connection of children's perception with the actions and movements of the child.

The first years of children's life is the period of development of the main interanalyzer conditioned reflex connections (for example, visual-motor, visual-tactile, etc.), the formation of which requires direct movements and actions with objects. At this age, children, examining objects, at the same time feel and touch them. In the future, when these connections become stronger and more differentiated, direct actions with objects are less necessary, and visual perception becomes a relatively independent process in which the motor component participates in a latent form (mainly eye movements are produced). Both of these stages are always noted, but it is impossible to associate them with a strictly defined age, since they depend on the living conditions, upbringing and education of the child.

The game is important for the development of perception and observation in preschool and primary school age. In the game, children differentiate various properties of objects - their color, shape, size, weight, and since all this is associated with the actions and movements of children, thereby favorable conditions are created in the game for the interaction of various analyzers and for creating a multilateral idea of ​​​​objects. Of great importance for the development of perception and observation is drawing and modeling, during which children learn to correctly convey the contours of objects, distinguish between shades of colors, etc. In the process of playing, drawing and performing other tasks, children learn to independently observe, compare, evaluate size, shape, color. Thus, already at the older preschool age, perception becomes more organized and manageable. In the process of schoolwork, in order to develop perception, careful comparisons of objects, their individual aspects, an indication of the similarities and differences between them are necessary. Of paramount importance are the independent actions of students with objects and the participation of various analyzers (in particular, not only sight and hearing, but also touch). Active, purposeful actions with objects, consistency and systematicity in the accumulation of facts, their careful analysis and generalization - these are the main requirements for observation that must be strictly observed by students and teachers. Particular attention must be paid to the correctness of observations. At first, schoolchildren's observations may not be detailed enough (which is natural when they first get acquainted with an object or phenomenon), but observations should never be replaced by a distortion of facts and their arbitrary interpretation.

1.2 Perception of fiction by preschool children

The perception of fiction is considered as an active volitional process, which involves not passive contemplation, but an activity that is embodied in internal assistance, empathy for the characters, in the imaginary transfer of "events" to oneself, in mental action, resulting in the effect of personal presence, personal participation.

The perception of fiction by children of preschool age is not reduced to a passive statement of certain aspects of reality, even if they are very important and significant. The child enters the depicted circumstances, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity greatly expands the sphere of a child's spiritual life and is of great importance for his mental and moral development. Listening to works of art, along with creative games, is of paramount importance for the formation of this new type of internal mental activity, without which no creative activity is possible. A clear plot, a dramatized depiction of events help the child enter the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.

At one time S.Ya. Marshak wrote in "Big Literature for Little Ones": "If the book has a clear unfinished plot, if the author is not an indifferent registrar of events, but a supporter of some of his heroes and an opponent of others, if there is a rhythmic movement in the book, and not a dry, rational sequence, if the conclusion from the book is not a free application, but a natural consequence of the whole course of facts, and besides all this, the book can be played like a play, or turned into an endless epic, inventing more and more sequels to it, this means that the book is written in a real children's language. language".

L.S. Slavina showed that, with appropriate pedagogical work, it is already possible to arouse interest in the fate of the hero of the story in a pre-preschooler, to force the child to follow the course of events and experience new feelings for him. In a pre-preschooler, one can observe only the beginnings of such assistance and empathy for the heroes of a work of art. The perception of a work acquires more complex forms in a preschooler. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts together with him, fights with his enemies. The activity carried out in this case, especially at the beginning of preschool age, is psychologically very close to play. But if in play the child actually acts in imaginary circumstances, then here both actions and circumstances are imaginary.

During preschool age, the development of an attitude towards a work of art goes from the direct naive participation of the child in the events depicted to more complex forms of aesthetic perception, which, in order to correctly assess the phenomenon, require the ability to take a position outside them, looking at them as if from the side.

So, a preschooler in the perception of a work of art is not egocentric. Gradually, he learns to take the position of a hero, mentally assist him, rejoice at his successes and be upset because of his failures. The formation of this internal activity at preschool age allows the child not only to understand phenomena that he does not directly perceive, but also to take a detached view of events in which he did not directly participate, which is of decisive importance for subsequent mental development.

1.3 Features of the perception of fairy tales by children of preschool age

Speaking about the influence of various types of oral folk art on a person's life as a whole, one cannot fail to note their special role that they play in childhood. It is especially necessary to say about the influence of the fairy tale.

To understand the complex and influential role of fairy tales in the aesthetic development of children, it is necessary to understand the originality of children's worldview, which we can characterize as children's mythologism, which brings children closer to primitive man and artists. For children, for a primitive man, for a real artist, all nature is alive, full of inner rich life - and this feeling of life in nature has, of course, nothing far-fetched, theoretical, but is directly intuition, living, convincing education. This feeling of life in nature is increasingly in need of intellectual formulation - and fairy tales just meet this need of the child. There is another root of fairy tales - this is the work of children's fantasy: being an organ of the emotional sphere, fantasy looks for images in order to express children's feelings in them, that is, through the study of children's fantasies, we can penetrate into the closed world of children's feelings.

Fairy tales play an important role in terms of the harmonious development of personality. What is harmonious development? Harmony is a consistent correlation of all parts of the whole, their interpenetration and mutual transitions. The strengths of the child's personality, as it were, pull up the weak ones, raising them to higher levels, forcing the entire most complex system - the human personality - to function more harmoniously and holistically. Moral ideas and judgments of people do not always correspond to their moral feelings and actions. Therefore, it is not enough just to know, to understand with your “head” what it means to be moral, and also only to speak out in favor of moral deeds, you must educate yourself and your child in such a way as to want and be able to be, and this is already the area of ​​feelings, experiences, emotions.

Fairy tales help develop responsiveness, kindness in a child, make the emotional and moral development of the child controlled and purposeful. Why fairy tales? Yes, because art and literature are the richest source and stimulus of feelings, experiences, and precisely higher feelings, specifically human (moral, intellectual, aesthetic). A fairy tale for a child is not just fiction, fantasy, it is a special reality, the reality of the world of feelings. A fairy tale pushes the boundaries of ordinary life for a child, only in a fairy tale form do preschoolers encounter such complex phenomena and feelings as life and death, love and hatred, anger and compassion, betrayal and deceit, and the like. The form of representation of these phenomena is special, fabulous, accessible to the understanding of the child, and the height of the manifestations, the moral meaning, remain genuine, "adult".

Therefore, the lessons that a fairy tale gives are lessons for life for both children and adults. For children, these are incomparable moral lessons; for adults, these are lessons in which a fairy tale reveals its sometimes unexpected impact on a child.

Listening to fairy tales, children deeply sympathize with the characters, they have an internal impulse to assist, to help, to protect, but these emotions quickly fade away, as there are no conditions for their realization. True, they, like a battery, charge the soul with moral energy. It is very important to create conditions, a field of vigorous activity, in which the feelings of the child, experienced by him while reading fiction, would find their application, so that the child could contribute, sympathize really. I would like to draw attention to the imagery, depth and symbolism of fairy tales. Parents are often concerned about the question of how to deal with scary tales, whether or not to read them to their children. Some experts suggest that they should be completely excluded from the "reading repertoire" for young children. But our kids do not live under a glass bell, they are not always under the saving protection of dad and mom. They must grow up bold, persistent and courageous, otherwise they simply will not be able to uphold the principles of goodness and justice. Therefore, they must be early, but gradually and deliberately taught stamina and determination, the ability to overcome their own fears. Yes, children themselves strive for this - this is evidenced by "folklore" and terrible stories that children of senior preschool and primary school age compose and retell to each other.

A child brought up on a folk tale feels the measure that the imagination should not cross in art, and at the same time, realistic criteria for aesthetic assessments begin to take shape in a preschooler.

In a fairy tale, especially in a fairy tale, much is permitted. Actors can get into the most extraordinary situations, animals and even inanimate objects speak and act like people, perform all sorts of tricks. But all these imaginary circumstances are needed only for objects to reveal their true, characteristic properties. If the typical properties of objects and the nature of the actions performed with them are violated, the child declares that the tale is wrong, that this does not happen. Here, that side of aesthetic perception opens up, which is important for the development of the child's cognitive activity, since a work of art not only acquaints him with new phenomena, expands the range of his ideas, but also allows him to highlight the essential, characteristic in the subject.

A realistic approach to fairy tale fantasy is developed in a child at a certain stage of development and only as a result of education. T.I. Titarenko showed that kids, without having the relevant experience, are often ready to agree with any fiction. Only in the middle preschool age does the child begin to confidently judge the merits of a fairy tale, based on the plausibility of the events depicted in it. Older preschoolers are so strengthened in this realistic position that they begin to love all sorts of "shifters". Laughing at them, the child discovers and deepens his correct understanding of the surrounding reality.

A preschool child loves a good fairy tale: the thoughts and feelings caused by it do not fade away for a long time, they appear in subsequent actions, stories, games, drawings of children.

What attracts a child to a fairy tale? As rightly pointed out by A.N. Leontiev, for a correct understanding of certain particular mental processes, it is necessary to take into account the nature of the motives that prompt the child to act, for the sake of which he performs this operation. These questions are very little covered in traditional psychology. From the point of view of, for example, psychoanalysts, a child's interest in a fairy tale is due to dark, asocial inclinations, which, due to the prohibition of adults, cannot manifest themselves in real life and therefore seek satisfaction in the world of fantastic constructions. K. Buhler believes that in a fairy tale the child is attracted by a thirst for the unusual, unnatural, a primitive desire for sensation and miracle.

Such theories are in conflict with reality. The huge influence of properly organized aesthetic perception on the child's spiritual development lies in the fact that this perception not only leads to the acquisition of individual knowledge and skills, to the formation of individual mental processes, but also changes the general attitude to reality, contributes to the emergence of new, higher motives for the child's activity. .

At preschool age, activity becomes more complicated: what it is aimed at and what it is done for, turns out to be no longer identical, as it was in early childhood.

New motives for activity, which are formed in the general course of the development of the child as a result of his upbringing, for the first time make possible a real understanding of works of art, penetration into their ideological content. In turn, the perception of a work of art affects the further development of these motifs. Of course, a small child is fascinated by the colorfulness of the descriptions or the amusing external situations in which the characters find themselves, but very early he also begins to be occupied by the inner, semantic, side of the story. Gradually, the ideological content of the work of art opens up before him.

A work of art captivates a preschooler not only with its external side, but also with its internal, semantic, content.

If the younger children are not sufficiently aware of the motives of their attitude towards the character and simply declare that this one is good and this one is bad, then the older children are already arguing their assessments, pointing out the social significance of this or that act. Here is already a conscious assessment not only of external actions, but also of the internal qualities of a person, an assessment based on high socially significant motives.

In order to comprehend something, a preschool child needs to act in relation to a cognizable object. The only form of activity available to the pre-preschooler is real, actual action. In order to get acquainted with an object, a small child must take it in his hands, tinker with it, put it in his mouth. For a preschooler, in addition to practical contact with reality, the inner activity of the imagination becomes possible. He can act not only in reality, but also mentally, not only in directly perceived circumstances, but also in imaginary ones.

Playing and listening to a fairy tale create favorable conditions for the emergence and development of the inner activity of the child's imagination. Here there are, as it were, transitional forms from real, actual action with an object to reflection on it. When a child begins to master this form of activity, new possibilities open up before his knowledge. He can comprehend and experience a number of events in which he did not directly participate, but which he followed through the artistic narrative. Other positions that do not reach the consciousness of the child, being presented to him in a dry and rational form, are understood by him and deeply touch him when they are clothed in an artistic image. This phenomenon was remarkably shown by A.P. Chekhov in the story "Houses". The moral meaning of an act, if it is expressed not in the form of abstract reasoning, but in the form of real, concrete actions, becomes very early accessible to the child. “The educational value of works of art,” as B.M. Teplov rightly notes, “first of all lies in the fact that they make it possible to enter “inside life”, to experience a piece of life reflected in the light of a certain worldview. And most importantly, that in the process of this experience, certain relations and moral evaluations are created, which have an incomparably greater coercive force than evaluations that are simply communicated and assimilated.

Chapter 2

2.1 Experimental sample, base and theoretical substantiation of the experiment

Experimental work was carried out in MBDOU "Child Development Center - Kindergarten No. 1" g-to. Anapa with children of senior preschool age in the amount of 15 people during the week. The theoretical concept of the experimental part of the work was the provision on the connection between the perception of fiction and the upbringing of a culture of child behavior, i.e. the idea that fiction should be one of the most important means of education. That is why in all developmental programs of preschool institutions much attention is paid to working with fiction. Using fiction as a means of educating a culture of behavior, the teacher should pay special attention to the selection of works, the methodology of reading and conducting conversations on works of art in order to form humane feelings and ethical ideas in children, to transfer these ideas into the life and activities of children (to what extent feelings are reflected children awakened by art, in their activities, in their communication with people around them).

The purpose of the ascertaining experiment was to identify the level of formation of the skills of a culture of behavior in children of senior preschool age.

We have set the following tasks:

Have a conversation with educators;

Have a conversation with children

Conduct parent surveys

Observe the behavior of children in a preschool educational institution;

To develop criteria for the level of formation of the skills of cultural behavior of children of senior preschool age.

2.2 Conducting the experiment and analyzing the results

To solve the set tasks, we conducted a conversation with educators and children, questioned parents, observed children's behavior, and analyzed methodological recommendations on educating a culture of behavior among preschoolers.

When conducting a conversation with educators, we tried to find out whether they use fiction in their work on educating a culture of behavior in children.

In a conversation with educators, we found out that they consider it important and necessary to work on educating a culture of behavior in children in kindergarten. Fiction is called among the main means of educating a culture of behavior. Without difficulty, they gave examples of fairy tales, stories, sayings used to educate a culture of behavior (for example, Oseeva's "Magic Word", Nosov's "Adventures of Dunno and his Friends", etc.).

Thus, on the basis of the conversation, we can conclude that educators understand the meaning and significance of educating a culture of behavior among preschoolers, use works of fiction in their work.

We conducted a survey of parents. Analysis of the data shows that parents understand the culture of behavior narrowly - mainly as the ability to behave in public places. Work on cultivating a culture of behavior in the family is underway, but parents use a limited set of tools. In particular, no one named a personal example as a means of educating a culture of behavior. All parents read works of fiction to their children, but some do not realize their significance for educating a culture of children's behavior.

A conversation with children showed that all children consider themselves cultured. However, in their opinion, to be cultured means to say hello when you meet, to be polite in dealing with elders. Only one child said that a cultured person is one who speaks politely to both adults and peers, looks neat, knows how to behave in public places, at the table. That is, children do not fully understand the concept of "cultural" and work should continue in this direction.

We also observed the behavior of children, namely their culture of communication, culture of activity, cultural and hygienic skills and culture of relationships.

By cultural and hygienic skills, we mean actions related to maintaining cleanliness and order. We will conditionally divide them into four varieties: personal hygiene skills, food culture skills, caring skills, and skills to maintain order and cleanliness in the environment.

Observation showed that most children wash their hands on their own, without a teacher's reminder, after a walk, before eating. At the table, the children sit neatly, do not make noise, only two children talk while eating, turn to other children. After a walk, not all children neatly fold their clothes, most children do this only after a reminder from the teacher, and Katya Ch. refuses to tidy up the closet. Many children do not take care of books, things, toys, throw them away, do not put them in their place. Only after the teacher's repeated request do the children put things in order in the group room, in the kindergarten area.

Under the culture of communication, we understand the totality of formed socially significant qualities of a person that determine the way of its existence, the ability to make changes in reality.

Without exception, all children greet and say goodbye to adults, use polite forms of address, such as "please", "thank you". However, half of the children do not use these peer communication skills. Some children do not consider it necessary to greet the children in the group, to address them politely. It should be noted that children address each other by name, do not call names.

We observed the culture of activity during classes, in games, and the fulfillment of labor assignments.

Children prepare the necessary equipment for the lesson - they take out pens, notepads, etc., clean the workplace after the lesson. However, most children do this reluctantly, obeying the demand of the teacher. Matvey Sh., Vlad K. and Matvey A. are happy to help the teacher clean up the group after class, for example, wash cups and brushes after drawing, clean boards from plasticine, etc. Children have a craving for interesting, meaningful activities. They know how to select game material in accordance with the game plan.

Observing the culture of relationships, we found out the following. Children do not always obey the requirements of the teacher. Matvey A., Anya P. often interrupt the teacher, intervene in the conversation of adults. In the game, children are able to agree on joint actions, often resolve conflict situations without the participation of a teacher. Children do not fight if controversial issues arise, many discuss the situation and come to a common opinion, only sometimes resorting to the help of an adult to resolve the conflict.

Low level - the child knows how to keep in order the place where he works, studies, plays, but he does not have the habit of finishing the work he has begun; he does not always take care of toys, things, books. The child has no interest in meaningful activities. The child often neglects the rules of hygiene. In communication with adults and peers, he behaves at ease, does not always use the appropriate vocabulary and norms of address. Does not know how to constructively resolve conflicts, not taking into account the interests of a peer. Does not know how to negotiate joint actions. Refuses to help an adult or another child.

Intermediate level - children have a pronounced habit of bringing the work they have started to the end; take care of toys, things, books. Children are already consciously interested in something new, more active in the classroom. In the process of communicating with adults, children are based on respect, friendly contact, cooperation, but this is not always manifested in communication with peers. Children are more independent, they have a good vocabulary, which helps them in expressing their thoughts and emotions. They always try to comply with the requirements of hygiene: they monitor the neatness, keeping the face, hands, body, hairstyles, clothes, shoes, etc. in frequency. Children try to resolve the conflict by listening to the opinion of another child, but continuing to insist on their own. Children do not always succeed in agreeing on joint actions, they prefer that others accept their point of view, but sometimes they give in. Help other children or adults at the request of the teacher, without showing independent initiative.

Revealing the level of formation of cultural and hygienic skills, we paid attention to whether the children are neatly dressed, whether they wash their hands and do it on their own or at the reminder of the teacher. We observed whether the children take care of books, things, toys.

When determining the level of communication culture, we observed how the child behaves during a conversation, what forms of address he uses, whether he knows how to listen to the interlocutor.

Determining the level of formation of the culture of activity, we paid attention to how the child organizes his workplace, time, whether he cleans up after himself, what types of activities he prefers to do.

Revealing the level of culture of relationships, we first of all paid attention to how the child interacts with other children and adults, agrees on joint actions, resolves conflict situations, and whether he observes the norms of cultural behavior.

To identify the level of formation of cultural behavior skills in each child, a scale was introduced in points from 1 to 5:

1 - low level;

2-3 - average level;

4-5 - high level.

The results are presented in table 1.

An analysis of the results of the table showed that 46% of children have a high level of behavior culture skills, 46% have an average level, and only 1 child (which is 6% of the number of children) has a low level.

It can also be seen from the table that the culture of relationships with peers is best developed in children, and least of all - the culture of activity.

Thus, the results of the experimental work allowed us to indirectly identify the features and level of completeness of the perception of fiction by preschool children.

Conclusion

Aesthetic, and especially moral (ethical) ideas, children must take out precisely from works of art.

K.D. Ushinsky said that a child does not only learn conventional sounds by studying his native language, but drinks spiritual life and strength from his native breast of his native language. One must fully trust the educational possibilities of a literary text.

The perception of a work of art is a complex mental process. It presupposes the ability to recognize, to understand what is depicted; but this is only a cognitive act. A necessary condition for artistic perception is the emotional coloring of the perceived, the expression of attitude towards it (B.M. Teplov, P.M. Yakobson, A.V. Zaporozhets, etc.).

A.V. Zaporozhets noted: "... perception is not reduced to a passive statement of certain aspects of reality, even if they are very important and significant. It requires the perceiver to somehow enter into the depicted circumstances, mentally take part in the actions."

The evaluative judgments of preschool children are still primitive, but they testify to the emergence of the ability not only to feel beautiful, but also to appreciate. When perceiving works of art, not only the general attitude to the whole work is important, but also the nature of the attitude, the child's assessment of individual characters.

The kid's acquaintance with fiction begins with oral folk art - nursery rhymes, songs, then he begins to listen to fairy tales. Deep humanity, extremely precise moral orientation, lively humor, figurative language are the features of these miniature folklore works. Finally, the kid is read author's fairy tales, stories available to him.

The people are an unsurpassed teacher of children's speech. In no other works, except for folk, there is such a pedagogically ideal arrangement of hard-to-pronounce sounds, such a thoughtful combination of a number of words that barely differ from each other in sound (“if there was a stupid, stupid bull, the bull had a stupid lip”). The subtle humor of nursery rhymes, teasers, counting rhymes is an effective means of pedagogical influence, a good "cure" for stubbornness, whims, selfishness.

A journey into the world of a fairy tale develops the imagination, fantasy of children, encourages them to write themselves. Brought up on the best literary models in the spirit of humanity, children in their stories and fairy tales show themselves to be fair, protecting the offended and weak, punishing the evil.

For children of early and younger preschool age, the teacher mostly reads by heart (rhymes, poems, stories, fairy tales). Only prose works (fairy tales, stories, novels) are told. Therefore, an important part of professional training is memorizing works of art intended for reading to children, developing expressive reading skills - a way to bring emotions to the full gamut, developing and improving the child's feelings.

It is important to form in children the correct assessment of the heroes of a work of art. Conversations can be an effective help in this, especially with the use of problematic questions. They lead the child to an understanding of the "second", true face of the characters, the motives of their behavior, previously hidden from them, to an independent reassessment of them (in the case of an initial inadequate assessment).

E.A. Flerina noted the naivety of children's perception - children do not like a bad end, the hero must be lucky, kids do not want even a stupid mouse to be eaten by a cat. Artistic perception during preschool age develops and improves.

The perception of works of art by a preschooler will be deeper if he learns to see the elementary means of expression used by the author to characterize the depicted reality (color, color combinations, form, composition, etc.).

The goal of literary education for preschoolers, according to S.Ya. Marshak in shaping the future of a great and talented writer, a cultured, educated person. The tasks and content of the introduction are determined on the basis of knowledge of the characteristics of the perception and understanding of works of literature and are presented in the kindergarten program.

The results obtained in the practical part of the work will help educators and parents to adjust the direction of pedagogical influence on children in an experimental preschool institution.

Bibliography

1. Alekseeva M.M., Yashina V.I. Methods for the development of speech and teaching the native language of preschoolers: Proc. allowance for students Wednesdays. ped. establishments. /MM. Alekseeva, V.I. Yashin. - M.: Academy, 2007. - 400 p.

2. Belinsky V.G. About children's books. Sobr. op. T.3. /V.G. Belinsky - M., 1978. - 261s.

3. Vygotsky L.S., Bozhovich L.I., Slavina L.S., Endovitskaya T.V. Experimental study of voluntary behavior. / L.S. Vygodsky, L.I. Bozhovich, L.S. Slavina, T.V. Endovitskaya // - Questions of psychology. - No. 4. - 1976. S.55-68.

4. Vygotsky L.S. Thinking and speech. Psychological research / ed. and with entry. article by V. Kolbansky. - M., 2012. - 510c

5. Gurovich L.M., Beregovaya L.B., Loginova V.I. Child and book: a book for the educator of children. garden / Under the editorship of V.I. Loginova - M., 1992-214p.

6. Childhood: a program for the development and education of children in kindergarten / V.I. Loginova, T.I. Babaeva, and others - M .: Childhood-Press, 2006. - 243 p.

7. Zaporozhets A.V. Psychology of perception of a literary work by a preschool child // Izbr. psycho. works T.1. / A.V. Zaporozhets - M., 1996. - 166s.

8. Karpinskaya N.S. Artistic word in the upbringing of children (early and preschool age) / N.S. Karpinskaya - M .: Pedagogy, 2012. - 143 p.

9. Korotkova E.P. Teaching preschool children storytelling / E.P. Korotkova - M.: Enlightenment, 1982. - 128 p.

10. Luria, A.R. Lectures on General Psychology / A.R. Luria - St. Petersburg: Peter, 2006. - 320s.

11. Maksakov A.I. Does your child speak correctly / A.I. Maksakov. - M. Enlightenment, 1982. - 160 p.

12. Meshcheryakov B., Zinchenko V. Big psychological dictionary / B. Meshcheryakov, V. Zinchenko - M.: Prime-Eurosign, 2003. - 672p.

13. Titarenko T.I. Factors influencing the perception of a literary text by preschool children: Abstract of the thesis. dis. cand. philol. Nauk/T.I. Titarenko - M. 2010. - 48s.

14. Repina T.A. The role of illustration in the understanding of a literary text by children // Issues of Psychology - No. 1 - 1959.

15. Rainbow. The program of upbringing, education and development of preschool children in a kindergarten / T.N. Doronova, S. Yakobson, E. Solovieva, T. Grizik, V. Gerbova. - M.: Enlightenment, 2003. - 80s.

16. Rozhina L.N. Psychology of education of a literary hero by schoolchildren /L.N. Rozhina - M.: Enlightenment. - 1977. - 158 p.

17. Rubinstein S.L. Fundamentals of General Psychology. M., 1946.465-471s.

18. Teplov B.M. Psychological issues of artistic education // Pedagogy. - 2000. - No. 6. - P.96.

19. Tikheeva E.I. Development of speech of children (early and preschool age). / E.I. Tikheeva // Preschool education. - No. 5. - 1991. from 12-18.

20. Philosophical encyclopedic dictionary. - INFRA-M, 2006 - P.576.

21. Yashina V.I. Some features of the development of the vocabulary of children of the fifth year of life (on the basis of familiarization with the work of adults): author. dis. cand. ped. Sciences, - M., 1975. - 72p.

22. http://sesos. su/select. php

Appendix 1

Table 1. The results of the ascertaining experiment to identify the level of formation of cultural behavior skills in children of senior preschool age

Description of the presentation on individual slides:

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PERCEPTION OF ART LITERATURE AND FOLKLORE The content of educational activities Prepared by the educator V.K. Bashlykova I.Yu. INTRODUCTION GEF TO

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The perception of fiction and folklore is one of the activities that ensures development in all educational areas, and this type of activity will solve some of the tasks directly, and some, only under certain conditions. The perception of fiction and folklore contributes to the appropriation of moral and moral norms and values ​​accepted in society.

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Perception of fiction and folklore thinking memory imagination attention sensations and emotions Provides development in all educational areas Artistic and aesthetic development Speech development Social and communicative development Cognitive development Physical development

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Perception of fiction and folklore The technical side The semantic side Understanding the text Emotions, imagination, logical comprehension Creative process Looking at the book Reading the text Discussing what has been read Reproduction and comprehension

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Technical side READING FINE LITERATURE IN KINDERGARTEN: Stages of reading activity Methodological techniques Examining the book a) discussion of the title of the text, illustrations b) conversation (what questions arose?) c) the main result is the desire to read the book Reading the book reading the text by adults in slow reading mode task: to help young readers "enter" the text is important: the nature of reading the text, primary reading Discussion of what has been read a) invite children to briefly tell what the text is about b) play "true - not true" c) offer to express their attitude to what they read with the help of colors, gestures , facial expressions Reproduction of comprehension of what is read with the help of special. tasks a) you can play the story in faces b) draw a "cartoon" (with the help of an adult) c) offer retelling using illustrations, free storytelling d) poetic text: recitation, choral reading e) completing the task in special. educational manual "Our books" O.V. Chindilova, A.V. Badenova

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The semantic side The formation of the spheres of reading activity: Spheres of reading activity Age of children Methods and techniques of work Emotional sphere: from 2 years old Expressive reading, joint chanting, comparison of a literary work with other types of art, revival of personal impressions by association with the text, etc. Sphere of recreative and creative imagination: from 4-5 years old Drawing, creative retelling, staging, making maps, diagrams, layouts, costumes, etc. Sphere of reaction to an art form: from 5-6 years old Story about a hero, event, discussion of the hero’s act, selective retelling , posing questions on the text, answering questions, etc. Sphere of reaction to the art form: from 6 to 7 years old Observation of sound recording, rhythm, rhyme

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The semantic side The structure of reading activity: The main criterion for choosing methods and techniques in organizing children's activities for the perception of fiction and folklore is a guide to the most active sphere of reading activity in a given age period and to the tasks of a particular stage of activity Motivational stage: Inclusion of motives, formation goals Approximate research stage: forecasting and planning Performing stage: impact on emotions, inclusion of imagination, semantic text processing Reflective stage: fixation of emotions, meaning of the text, creativity

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Artistic and aesthetic development The child develops elementary ideas about various types of art: Music: The child expresses his attitude to the hero or plot through a song, dance Visual arts: The child illustrates a fairy tale or examines illustrations for the text Theatre: The child dramatizes the work TEACHER: Introduces the child to the perception of the text through dialogue and commentary reading; Creates conditions for the development of the prerequisites for value-semantic perception and understanding of works; Forms elementary ideas about various types of art; Stimulates empathy for the characters of works of art; Creates conditions for the formation of an aesthetic attitude to the world described in the work

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Speech development A coherent, grammatically correct dialogic and monologue speech of the child develops; The child masters speech as a means of communication; The sound and intonational culture of speech, phonemic hearing of the child develops; Sound analytical-synthetic activity is being formed as a prerequisite for teaching a child to read and write; An elementary idea of ​​children's literature and its genres is being formed; The perception of the text by ear is formed, and at the reflexive stage, children reproduce (stage) the work, etc. TEACHER: Involves children in conversations on spiritual and moral topics; Stimulates speech activity based on literary works and folklore; Teaches children to rely on personal experience (real situations of children's communication); Introduces children to book culture (looking at a book)

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Social and communicative development TEACHER: Draws the child's attention to the significance of the actions of the heroes of the work (the child tries on the role of the character, evaluates his actions, imitates him); Promotes the development of emotional responsiveness, empathy; Develops the ability to communicate and interact with peers and adults; Contributes to the formation of self-regulation and independence The child develops a respectful attitude and a sense of belonging to his family, small homeland and fatherland; The child develops ideas about the socio-cultural values ​​of our people, about domestic traditions and holidays, the continuity of generations; The child develops the skills of communication and interaction with adults and peers, a readiness for joint activities is formed; The rules of safe behavior in everyday life, society and in nature are fixed

Works of fiction contribute to the emotional development of preschoolers, which is expressed in the desire to immediately manifest the feelings and emotions that have arisen in them when listening to fairy tales and stories, emotions in actions. Literary texts introduce children to the richness of the world of human emotions, show to understand the reasons for their occurrence and change.

Fiction has always been recognized as the main means of children's speech development: acquaintance with literary works arouses interest and fosters love for the native language, its richness and beauty, enriches figurative vocabulary, and contributes to the development of expressive speech of preschoolers.

Thus, familiarization with literature affects all aspects of the child's personality. At the same time, the current socio-cultural situation makes this process difficult. Our society, still in the recent past "reading" , turned into "watching" . The fading of interest in reading, in the book, had a negative impact on adults and, as a result, had an extremely negative impact on children, on their personal culture. This requires innovative approaches to the selection of tasks and the content of work in kindergarten in this area of ​​pedagogical activity.

The conceptual provision for correcting and updating the traditional approach of introducing preschoolers to fiction is the consideration of this problem from the standpoint of literary development.

The concept of literary development is interpreted by researchers as the ability of a child "think in verbal and artistic images" (N. D. Moldavskaya); as a realization of the experience of the general mental development of the child with an emphasis on the emotional area in the reader's perception (V. G. Marantsman); as the embodiment of literary abilities, such as impressionability, observation, creative imagination, which implies a clear and vivid representation of both directly observed impressions and images created verbally, manifested "... in the ease of forming associations between the word and images" (A. G. Kovalev, A. Maslow); as a process of qualitative changes in the perception, interpretation of literary texts and the ability to reflect literary experience in various types of artistic activity (O. V. Akulova, N. D. Moldavskaya, O. N. Somkova).

The basis of literary development is the perception of a literary text. The problem of perception of a work of art is reflected in the studies of L. S. Vygotsky, L. M. Gurovich, A. V. Zaporozhets, M. R. Lvov, N. G. Morozova, O. I. Nikiforova, B. M. Teplova, O. S. Ushakova, E. A. Flerina and others.

A full-fledged perception is understood as the reader’s ability to empathize with the characters, the author of the work, to see the dynamics of emotions, to reproduce in the imagination the pictures of life created by the writer, to reflect on the motives, circumstances, consequences of the actions of the characters, to evaluate the heroes of the work, to master the idea of ​​the work.

Thus, the literary development of preschoolers can be defined as a process of qualitative changes in the perception, interpretation of literary texts and the ability to reflect literary experience in various types of artistic activity.

Tasks of literary development of children of different age groups.

Tasks of working with young children:

• to educate children's interest in folklore and literary texts, the desire to listen to them carefully
• enrich "reader's" experience (listening experience) due to various small forms of folklore (rhymes, songs, jokes), simple folk and author's tales (mostly about animals), stories and poems about children, their games, toys, daily household activities, animals familiar to children
• contribute to the perception and understanding of the text by children, help to mentally represent events and heroes, identify the bright actions of the hero, try to evaluate them, establish the simplest connections of the sequence of events in the text
• maintain a direct emotional response to a literary work, its characters.

Tasks of working with children of middle preschool age:

• to deepen children's interest in literature, to cultivate a desire for constant communication with the book, both together with an adult and independently
• expand "reader's" experience (listening experience) through different genres of folklore (jokes, riddles, incantations, tall tales, fairy tales and animal tales), literary prose (fairy tale, story) and poetry (poems, author's riddles, funny children's fairy tales in verse)
• develop the ability for a holistic perception of the text, which combines the ability to identify the main content, establish temporary, sequential and simple causal relationships, understand the main characteristics of the characters, the simple motives of their actions, the significance of some means of linguistic expressiveness for conveying the images of characters, especially important events, emotional overtones and the general mood of the work or its fragment
• support the desire of children to reflect their impressions of the listened works, literary heroes and events in various types of artistic activity: in drawings, making attributes for theatrical games, in a dramatization game, etc.

Tasks of working with children of senior preschool age:

• maintain children's interest in literature, cultivate a love for the book, contribute to the deepening and differentiation of reader interests
• enrich "reader's" experience of children through the works of more complex genres of folklore (magic and everyday fairy tales, metaphorical riddles, epics), literary prose (fairy tale-story, story with moral overtones) and poetry (fables, lyrical poems, literary riddles with metaphor, poetic tales)
• to cultivate literary and artistic taste, the ability to understand the mood of the work, to feel the musicality, sonority and rhythm of poetic texts; beauty, imagery and expressiveness of the language of fairy tales and stories
• contribute to the development of artistic perception of the text in the unity of content, form, semantic and emotional overtones
• to promote the expression of attitudes towards literary works in various types of artistic and creative activities, self-expression in a theatrical game in the process of creating a holistic image of the hero in his change and development.

The mastery of tasks is realized in joint activities organized by the teacher (developing, problem-playing and creative-playing situations based on a literary text, literary entertainment, theatrical games), as well as by means of organizing a subject-developing environment to activate independent literary, artistic and speech, visual and theatrical activities based on familiar folklore and literary texts.

Literary works and their fragments are included in regime moments, in observations of the phenomena of animate and inanimate nature. At the same time, it is necessary to purposefully acquaint children with a new text every day or organize activities based on what is already known. To enhance the emotional impact of works of art on children, it is important to combine reading a literary text with listening to music, viewing works of fine art (for example, read poetry when children listen to music, look at reproductions of paintings, etc.).

All forms of joint activity of the educator and children expand and deepen the reading interests of children, contribute to the active use of literary texts in various types of creative activity, form the future talented reader of the great reading country.

At the stage of development of modern Russian society, more and more new requirements are put forward for the development of the personality of a child of preschool age. An important and main place is given to the ability to perceive, predict and fantasize, to show individuality and creative activity.

The Federal State Educational Standard (FSES DO) provides for the creation of individual conditions for the development of the child's personality.GEF DO is the main support for the development of long-term plans, writing notes of classes, which should be directed to the perception of fiction by preschool children.

In accordance with ffederal state educational standardpreschool education, speech development involves familiarity with book culture, children's literature, listening to the texts of various genres of children's literature, the perception of works of fiction.

This article discusses the age characteristics of young children, as well as work on the perception of fiction by children, introducing them to verbal art.

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Kabanova L.M., teacher

GBDOU kindergarten №29 Vasileostrovsky district

Petersburg

Organization of the perception of young children of works of fiction: implementation of the requirements of the Federal State Educational Standard

At the stage of development of modern Russian society, more and more new requirements are put forward for the development of the personality of a child of preschool age. An important and main place is given to the ability to perceive, predict and fantasize, to show individuality and creative activity, as well as the ability to focus on the future, to be able to move on to new activities. A modern preschooler should be able to perceive and creatively approach any life situation, should be able to independently make serious decisions and be able to bear responsibility for these decisions. But readiness for the perception of fiction by children of preschool age cannot appear on its own, it manifests itself in the conditions of education and training of pupils in a preschool educational institution. The creation of individual conditions for the development of the personality of a child of preschool age in a preschool educational institution is laid down in the Federal State Educational Standard (FGOS DO). It shows the humanistic orientation of education, which determines the personality-oriented model of interaction between the educator and the child of preschool age, as well as the development of his personality, his creative potential. Pre-school education is the main basis for the universal education of children. In this connection, a lot of important requirements are imposed on it, and uniform standards are introduced, which all preschool educational institutions must adhere to.

GEF DO is the main support for the development of long-term plans, writing notes of classes, which should be directed to the perception of fiction by preschool children. In the Federal State Educational Standard, educational areas represent the following areas of development of a preschool child: speech development; cognitive development; social - communicative development; physical development; artistic and aesthetic. Knowledge of the age characteristics of the perception of a literary work by children of preschool age will allow the educator of a preschool educational institution to qualitatively develop the content of literary education and, on this basis, to realize the tasks of the educational field "Artistic and aesthetic development of preschool children". Preschool age is the period when the perception of fiction by preschool children can become the main hobby of not only gifted preschoolers, but almost all other children of this age, therefore, by enticing a preschool child into the fabulous world of perception of fiction, we develop his creative ability and imagination.

In accordance with the Federal State Educational Standard of preschool education, speech development involves familiarity with book culture, children's literature, listening to the texts of various genres of children's literature. The most important condition for the implementation of this task is the knowledge of the age characteristics of the perception of preschoolers, in this case, the perception of works of fiction.

At 3-4 years old (younger group)children understand the main facts of the work, capture the dynamics of events. However, understanding of the plot is often fragmentary. It is important that their understanding is connected with direct personal experience. If the narrative does not cause them any visual representations, is not familiar from personal experience, then for example, Kolobok, they may no longer understand than the golden egg from the fairy tale "Ryaba the Hen".

Kids better comprehend the beginning and end of the work. They will be able to imagine the hero himself, his appearance, if an adult offers them an illustration. In the behavior of the hero, they see only actions, but do not notice his hidden motives for actions, experiences. For example, they may not understand the true motives of Masha (from the fairy tale "Masha and the Bear") when the girl hid in the box. The emotional attitude to the heroes of the work in children is pronounced.

To organize the perception of works of fiction by children of primary preschool age, my pedagogical process is carried out in accordance with the requirements of the federal state educational standard for distance learning, in which there is a clear connection between the following educational areas: speech and artistic and aesthetic development. Speech development includes familiarity with book culture, children's literature, as well as listening comprehension of texts of various genres of children's literature. Artistic and aesthetic development involves the development of the prerequisites for value-semantic perception and understanding of works of verbal art, the natural world; formation of perception of fiction. stimulation of empathy by the character of a work of art, the implementation of independent creative activity of children. In addition, the perception of fiction in the GEF DO is one of the types of children's activities.

The main goal of my work in this direction is the development of children's artistic perception, introducing them to verbal art. To achieve this goal, the following tasks have been set:

Formation of a holistic picture of the world.

Teach children to listen to nursery rhymes, poems, fairy tales, stories and follow the development of the action.

To develop literary speech: the ability to read by heart nursery rhymes and small author's poems.

To promote the development of the skill to stage and dramatize small passages from folk tales with the help of a teacher.

At the first stage of work, in order to achieve the set goal and solve problems, it is necessary to create a subject-developing environment. A selection of fiction, taking into account the age characteristics of children and in accordance with the requirements of the program. The design of the book corner, with neatly arranged books, as well as a table for viewing books. Children's literature throughout the year should be constantly updated depending on the complex thematic planning. When selecting material, I try to take into account the principle from simple to complex, as well as pay attention to the cognitive and moral side of a work of art. Acquaintance with fiction takes place in the course of direct educational activities. The game is the main activity for children of the younger group. That is why all work with children is carried out in a playful way. In order to attract the attention of a preschooler, I use a toy (visual material) and only then start reading and telling. With the help of questions I try to evoke an emotional response to the content of the work. I widely use table and puppet theaters in my work. The appearance of bright table figures allows you to attract the attention of children. With great pleasure, children pick up a fox, a cockerel from the puppet theater and try to repeat the actions of the teacher. Skillful playing of a work of art allows you to create a joyful mood in the group, establishes emotional contact with the baby, activates verbal communication, organizes an unobtrusive educational effect that helps to replenish the stock of knowledge and information about the environment. During the year, children get acquainted with different works of art. Along with author's works, such as poems by A. Barto from the "Toys" series, A. Pleshcheev "Country Song", V. I. Tokmakova "Spring", K. I. Chukovsky "Wonder Tree", "Confusion", "The Stolen Sun", "The Tale of the Stupid Mouse", S.Ya. Marshak's story about the "Moustached - Striped" kitten and others, children also get acquainted with oral folk art or folklore. Having absorbed the historical experience of many generations, folklore has tremendous educational value, it helps to form an artistic taste, to cultivate a good attitude towards the world and people. Folklore, as a manifestation of the creativity of the people, is close in nature to the creativity of the child (simplicity, completeness of form, generalization of the image). Oral folk art allows the child to get involved in cultural values, to assimilate them through such forms as fairy tales, nursery rhymes and lullabies.

Fairy tales are the most favorite type of folk art for children. Fairy-tale images are emotionally rich, colorful and unusual, and at the same time simple and accessible for children's understanding, believable and realistic. That is why preschoolers listen with great pleasure to these fairy tales “Ryaba the Hen”, “Gingerbread Man”, “The Wolf and the Seven Kids”, “Zayushkina's Hut”, etc.

Little children are wonderful actors: as soon as someone puts on at least part of someone's costume, he immediately enters the character. Imagination, like a magic wand, takes the child to a different plane of being, endowing him with new, unattainable in real life opportunities. Under cheerful music, in bright hats offered by the teacher, the children enthusiastically portray the characters of the Russian folk tale "Teremok".

Along with group and subgroup work on familiarization with fiction, individual classes are planned and conducted with children who have not fully mastered the material in the classroom. This approach allows you to dwell on the content of a literary work in more detail and consider the illustrations together with the educator. When looking at illustrations, children develop a need for constant communication with fiction, gradually develop an aesthetic taste, and form a self-perception of beauty. It helps the child to better understand a particular literary work, to clarify the author's thought, and also affects the moral education of children. Preschoolers learn to treat books more carefully. They begin to understand that it is impossible to tear pages, paint over pictures, throw them on the floor. But if all the same this happens, then in no case should this fact be ignored. It is necessary to explain that one of the children acted badly, not correctly, and offer to glue it together with the teacher.

Book corners are available in each group of kindergarten. The organization of excursions allows my pupils to look at the book corners of other groups. During such visits, I draw the attention of the children to how carefully the books are arranged, in what condition they are.

And of course, one of the important aspects is close, well-established contact with moms and dads. To do this, we conduct: conversations and consultations, parent meetings on the topic: “Organizing family reading and a book corner”, “Teaching a child to retell”, “Books are family heirlooms”, we conduct a survey “Does your child have favorite fairy tales?” "Favorite fairy tale character?" Do you read fairy tales to your child? what?”, we invite you to view open events, as well as design stands, folding books, put a list of fiction for children 3–4 years old in the corner.

Thus, in the course of organizing the perception of fiction, it was possible to achieve positive results; children began to listen to works of art more attentively, understand the content, answer questions, independently recite poems, nursery rhymes and short tales. take part in the drama.