There are two opposite points of view: talent is the maximum degree of health, talent is a disease.

If we proceed from the fact that creativity is a process, then a genius is a person who creates on the basis of unconscious activity, who is able to experience the widest range of states due to the fact that the unconscious creative subject is out of control of the rational principle and self-regulation.

Main difference creative personality representatives of depth psychology and psychoanalysis (here their positions converge) see in specific motivation. Let us dwell only briefly on the positions of a number of authors, since these positions are reflected in numerous sources.

L.S. Vygotsky calls creative activity such activity of a person that creates something new, whether it is created by creative activity, some thing of the external world or a certain construction of the mind or feeling, living and manifesting itself only in the person himself. If we look at the behavior of a person, at all his activities, we can easily see that in this activity two main types of actions can be distinguished. One type of activity can be called reproducing, or reproductive: it is most closely associated with our memory, its essence lies in the fact that a person reproduces or repeats previously created or developed behaviors or resurrects traces of previous impressions.

In addition to reproducing activity, it is easy to notice another kind of this activity in human behavior, namely, combining or creative activity.

L.S. Vygotsky argues that any such activity of a person, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second kind of creative or combining behavior. The brain is not only an organ that preserves and reproduces previous experience for us, but it is also an organ that combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. If man's activity were limited to a mere reproduction of the old, then man would be a being turned only to the past, and would be able to adapt to the future only insofar as it reproduces the past. It is the creative activity of a person that makes him a being, facing the future, creating it and modifying its present.

Thus, creative activity is impossible without mastering reproductive activity.

Creativity is the highest degree cognitive activity which leads to the development of the personality of the younger student. We assume the presence of 3 levels of development creative activity junior schoolchildren in Russian language lessons. High (creative) level - implies a high development of cognitive processes, verbal imagination, creative imagination, creative thinking, high independence in solving exercises. Average (reproductive-creative) level - cognitive processes in the region of average indicators, verbal and creative imagination at a low level, independence manifests itself in familiar situations. Low (reproductive) level - cognitive activity at a low and medium level, does not seek to show independence, in most cases follows the instructions of the teacher.

The development of creative activity involves the development of creative thinking. Most scientists distinguish the following criteria for creative thinking.

Thinking productivity is the ability to generate as many ideas as possible in response to a problem situation. For example, we invite the child to come up with and draw as many stories on one topic as possible; decorate the sails of identical yachts in different ways; find similarities between objects, etc. - the more ideas a child is able to develop, the higher the productivity of his thinking.

Originality of thinking - the ability to put forward new unexpected ideas that differ from the widely known, banal ones. Most specialists in the field of creative psychology consider this characteristic to be the main indicator of creativity. creativity. In the solution process, unusual, original ideas should be supported and encouraged.

Flexibility of thinking - the ability to quickly and easily find new solution strategies, establish unusual associative links, to move in thinking and behavior from phenomena of one class to others, often distant in content. Let's take as one of the illustrations the task of drawing clouds over the good wizard's castle. The highest flexibility of thinking will be observed in a situation where all the silhouettes of these clouds resemble objects from different spheres. For example: one cloud resembles an animal; the other is a plant; the third is a person; the fourth is a bird; fifth - fish; the sixth is an armchair; seventh - portfolio, etc.

The ability to develop an idea - success in creativity is not only for those who can create new ideas, but also for those who are able to creatively develop existing ones. This ability is clearly manifested in the detailing of the completed drawing, in the ability to fill a composed, own story with interesting details and details, in the degree of penetration into the problem being solved. This quality usually indicates a high level of overall mental development of the child.

The development of creative activity primarily depends on a sensitive, tactful teacher, on his creative potential. The problem of creativity occupies a large place in pedagogical activity. An advanced teacher, developing the creative abilities of students, in search of the most appropriate methods of teaching and education, is himself a creator and innovator. The creativity of the teacher covers different aspects of his activity - building a lesson, conversations, working on organizing a team of students in accordance with their age and individual characteristics, designing the personality of students, developing a strategy and tactics of pedagogical activity in order to optimally solve the problems of the comprehensive development of the child. The task of each teacher is to form cognitive activity in all students, to notice any creative manifestations of students, to create conditions for the development of creative abilities in the classroom and in extracurricular activities.

Thus, the analysis of psychological and pedagogical literature allowed us to consider the creative activity of a schoolchild as the highest degree of cognitive activity, which has some features: subjective nature, dependence on the degree of development of reproductive activity.

Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, and so on.

V. A. Molyako distinguishes the following main types of creative activity: scientific and logical; technical and constructive; figurative and artistic; verbal and poetic; musical and motor; practical and technological; situational (spontaneous and reasonable).

The psychologist presents the manifestation of creative search according to the following criteria: reconstructive creativity; combinatorial creativity; creativity through analogies.

It seems possible to fix the manifestation of intelligence by: understanding and structuring the initial information; task setting; finding and designing solutions; forecasting decisions (development of ideas for solutions), hypotheses.

As it seems to the researcher, the dynamics of decision and creative activity in general will be most exhaustively determined by the following main types: slow; fast; superfast.

The levels of achievements can be determined by the tasks that the subject sets for himself, or by the successes themselves, here V.A. Molyako identifies three conditions: the desire to surpass existing achievements (to do better than it is); achieve top class results; to realize the most important task (maximum program) - on the verge of fantasy.

In terms of emotional response to the performance of activities, enthusiasm, the author distinguishes three types: inspirational (sometimes euphoric); confident; doubting.

Thus, V.A. Molyako proposes a structure that describes in a rather diverse way Various types giftedness, their dominant characteristics, the originality of combinations of the most important qualities. It is not difficult to understand that everything that relates to general creative talent is directly related to various types special talent - scientific, technical, artistic, etc.; it goes without saying that in this case we are dealing with the manifestation of certain dominant qualities, features that characterize the specifics of creativity in a particular area of ​​human activity.

Thus, in the philosophical and psychological sciences, creativity is seen as an act of the unconscious, where the decisive role is given to intuition, and as an activity. Adhering to the second point of view, we believe that creativity is primarily an activity, which in turn can be social, labor, creative, etc.

Imagination plays a huge role in the development of creative activity. L.S. spoke about this. Vygotsky in his work "Imagination and Creativity in Childhood": "The main direction in the development of children's imagination is the transition to an increasingly correct and complete reflection of reality on the basis of relevant knowledge and the development of critical thinking. characteristic feature The imagination of the younger student is his reliance on specific subjects. So, in the game, children use toys, household items, etc. without this, it is difficult for them to create images of the imagination. In the same way, when reading and telling a child, he relies on a picture, on a specific image. Without this, the student cannot imagine, recreate the described situation.

In this case, we are dealing with a creative process based on conjecture, intuition, independent thinking of the student. The psychological mechanism of activity itself is important here, in which the ability to solve non-standard, creative mathematical problems is formed.

Successful formation of creative thinking among younger schoolchildren is possible only on the basis of the teacher taking into account the main features of children's creativity and solving the central tasks in the development of creative thinking.

Levin V.A. the main distinguishing features of children's creativity were accurately noticed: children's fiction is boring, and the child does not critically relate to it; the child is a slave to his poor imagination. The main factor determining the creative thinking of a child is his experience: the creative activity of the imagination is directly dependent on the richness and diversity of a person's past experience. As mentioned above, the most important task here is the formation of creative thinking. In order to form in students the ability to creatively solve mathematical problems, it is necessary, first of all, to take care of developing their mathematical outlook, of creating a real sensory basis for imagination.

A feature of the creative thinking of schoolchildren is that the child is not critical of his product of creativity. The children's idea is not guided by any ideas, criteria, requirements, and therefore is subjective.

The development of creative thinking is inseparable from the formation of performing skills and abilities. The more versatile and perfect the skills and abilities of students, the richer their imagination, the more real their ideas.

The above cognitive processes play a huge role in the development of creative activity of younger students. Therefore, in order to productively develop the creative activity of a younger student, it is necessary to develop his cognitive processes.

The scientist-teacher S.A. writes about the features of the development of creativity and creative activity. Smirnov.

The repeated manifestation of the child's creativity in various situations results in the accumulation of experience in creative activity. It is designed to ensure that the child is ready to search for solutions to new problems, to creatively transform reality. The specific content of the experience of creative activity and its main features are as follows: independent transfer of knowledge and skills to a new situation; seeing a new problem in a familiar situation; vision of the structure of the object and its new functions; independent combination of known methods of activity into a new one; finding various ways problem solving and alternative evidence; building a fundamentally new way to solve the problem, which is a combination of known .

The indicators of schoolchildren's creativity can be considered those that are highlighted in the characteristics of creativity by psychology: novelty, originality, detachment, departure from the template, breaking traditions, surprise, expediency, value.

A distinctive feature of the creative activity of children is the subjective novelty of the product of activity. According to its objective meaning, the "discovery" of the child can be new, unusual, but at the same time be carried out at the direction of the teacher, according to his idea, with his help, and therefore not be creativity. And at the same time, the child can offer a solution that is already known, used in practice, but thought of it on his own, without copying the known.

We consider the experience of creative activity of younger schoolchildren in a dual capacity: as a process and as a result of activity that ensures the inclusion of students in the creation of a subjectively new one based on the application of acquired knowledge, practical skills and the actualization of personal functions in various situations. At the same time, our research is limited to the study of literary creative activity and the definition of pedagogical conditions for the development of the personality of younger students.

In our work, we relied on the ideas of Ponomarev Ya.A.: “The creative nature of the child will always find a way out for self-expression. The only thing left for the teacher is to predict and provide those pedagogical conditions in which the creative gift of the student is most fully realized” [65].

There are all the prerequisites for the introduction of a younger student into literary creativity. Firstly, he has developed a plot-role-playing game and a dramatization game in which he is the author, the hero, and the actor. And when the viewer is included in this work, the author begins to focus on him. The tasks of the game will begin to change to artistic and communicative ones. Secondly, the younger student is still in many ways a "pioneer", he has a sense of novelty and surprise in relation to the world around him.

Following the purpose and objectives of our thesis, we will also consider the views different authors on the concept of "creative thinking", on the indicators that characterize this thinking.

"Creative thinking It is imagination-based thinking. It creates new ideas, a new way of looking at things. It connects certain objects or images in a way that they have not been connected before. It is endless and varied. ". Gin A.A..

"Creative thinking- the process of creating something new that is of interest to individuals, groups, organizations or society "Sidorchuk A.A.
"Creative thinking - the ability to look at a problem from the outside. Creative thought is insight, insight, a moment of inspiration that reveals the right solution ”J. Gilford ..
"Creative thinking- the creation of a new one that did not exist before” Levin V.A.

"Creative thinking- the ability to look at the world in a way different from how others see the world. The ability to express and convey to these others one's perception of the surrounding world" Godefroy J.

"Creative thinking- look at the same thing that is in front of the eyes of all other people, but think a little differently” Volkov V.P. 17].

"Creative thinking- learning something new. An integral part of the intellect ”B. Bogoyavlenskaya.

"Creative thinking- the ability to find fundamentally new, unique solutions. Sometimes a creative solution is the result of a reorganization long ago known facts into a new scheme, and sometimes represents a completely new idea. Vygotsky L.S.

Imagination, as a necessary component of thinking, has long attracted the attention of researchers. The first and most significant research in this area was made at the end of the nineteenth century by the French psychologist, the founder of experimental studies of higher mental processes, Théodule Ribot. His work "Experience in the Study of Creative Imagination" laid the foundation for the understanding and significance of the role of imagination in the general psychology of thinking. In the future, this topic was developed by many domestic and foreign psychologists. However, the relevance of this issue is constantly increasing, since in modern society an individual is required not just the usual “correct” thinking, but creative thinking, in which the ability to solve a known problem using previously unknown methods is used to the greatest extent. But a creative way of thinking is not possible without a developed imagination, without the ability to receive information, by mentally constructing the missing objects and events. Therefore, today, more than ever, a developed imagination is the first and most necessary condition for the formation of effective thinking of a modern person. The value and role of imagination in meeting the primary needs of man.

Assistance to the child in the development of his imagination (thinking) is the basis for the successful formation of his creative thinking style in the future, with which he will enter adulthood. And vice versa, if a child is not helped to develop his imagination, it may be likely that he will form and consolidate stereotypical, timid, and uncreative thinking, which will limit his actions in his future, independent life. It follows, for example, that it is not desirable to give full and exhaustive answers to the child's questions. When everything becomes clear and understandable to him, he does not include his imagination in the work and therefore does not develop creative thinking, which is so necessary in adulthood. That is why it is much more useful to read a book than to watch the same story from a video. In the first case, it is necessary to turn on your imagination in order to present the heroes of the plot, in the second case, this work is missing. Information should be given to the child in such a way that there are some gaps and understatements in it. This gives him the opportunity to think for himself and thereby support and develop the imagination. Of course, such a teaching method should be methodologically competent and have its own levels of complexity and special techniques.

Probably, the reason is the same - having bright natural gifts in one form of activity for their success in their school years, they did not need to develop their imagination. However, as they grew older, the number of necessary forms of activity inevitably increased, and in many of them a fair amount of imagination was already required, which, alas, was absent.

From the foregoing, it is clear that imagination is necessary not only for the complete and successful satisfaction of the primary needs of a person, but it is also the basis for the formation of effective, creative thinking, which determines the quality of life. At the same time, the quality of life increases as a higher type of imagination is formed.

Imagination types. Research by modern scientists has revealed the following types of imaginations:

• 1. Construction or reproduction.
• 2. Combining.
• 3. Creative.

The constructive imagination uses mainly the memory or past experience of a person. This type of imagination allows you to restore in memory the entire object or the entire event in which a person took part or for which he has sufficient information, based on a part of an object or one fragment of an event.

At the same time, an important role in this type of imagination is played by association, that is, the connection between individual representations, in which one of the representations causes another.

The constructional type of imagination is a fairly common imagination and is used by the majority of people. The greatest development of this type of imagination is observed in people of art - artists, artists, musicians, who, in order to build an artistic image, need to constantly recall the corresponding plot or object from their memory.

Combining imagination - is associated with the ability of a person to combine previously known, but different in purpose, objects or events into a single whole, while obtaining a new result that is not inherent in individual objects. For example, mentally connecting the sled and the propeller of the aircraft, we get a snowmobile - a vehicle that moves along earth's surface leaning on the air. Combining the morning dawn and a blossoming rosebud into a single whole, the artist fills his picture with a high meaning of life and love.

This type of imagination is most characteristic of scientific experimenters who, receiving various data, are forced to combine them in order to understand and explain the event under study. The same type of imagination is used by engineers, developers of new technologies and technical systems, the most prominent writers, poets and musicians.

In understanding problematic situations, combining imagination is more effective than restoring one, since it allows you to systematically and in interconnection analyze existing and future events in order to make the right decision.

A creative type of imagination that requires the highest level of fantasy. Unlike the previous two, where single ready-made knowledge or the combination of several well-known knowledge is used, the creative type of imagination creates knowledge itself. This is the highest and most complex type of imagination, with the help of which a new, previously unknown object with previously unknown properties is generated (created) and which does not have a prototype.

For example, the creation of a camera required at one time the greatest imagination, since not a single object or object was known that would perform the function of fixing a light beam with fixing an image. The same applies to the invention of a device for recording and reproducing sound (tape recorder), a device for transmitting images (TV), aircraft, rockets, lasers and many other objects.

The creative type of imagination is inherent in outstanding scientists, inventors and science fiction writers. The typical owners of the third type of imagination are the science fiction writers Jules Verne, Herbert Wales, Alexander Belyaev, Stanislav Lemm and many others. It was they who first, using their imagination, put forward the ideas of controlling thoughts at a distance, a time machine, artificial diamond production, television, artificial muscles, organ transplants, a submarine, a helicopter and much more. Today we see that most of these ideas have become a reality, new knowledge, but at the time of their creation there was nothing like it - all this was just a figment of the imagination.

It should be noted that as the level of imagination increases, so does the level of thinking, which becomes more efficient, productive and creative. In addition, a developed imagination helps to develop and maintain the senses - hearing, sight, smell, touch, taste. . For example, some composers, having lost their hearing, continued to compose music that sounded in their imagination. Sculptors, having lost their eyesight, continued to create statues striking with the perfection of form and the frozen plasticity of graceful movements. All this became possible only because these people had the highest level of imagination, combining all its types.

From what has been said, it is clear how important it is to develop imagination in children, which is a necessary condition for satisfying their primary needs and creating the prerequisites for a happy life.

An important stage in the psychodiagnostics of a person's creative abilities was the work of the American psychologist J. Gilford, who identified two types of thinking: convergent (sequential, logical, unidirectional) and divergent (alternative, retreating from logic). Most psychodiagnostic tests of creativity are focused on identifying divergent thinking abilities. These tests do not require a certain number of answers. There are no right and wrong solutions in them, the degree of their compliance with the idea is assessed, the search for non-trivial, unusual and unexpected solutions is encouraged and stimulated.

In foreign psychology, divergent creative thinking is more often associated with the term "creativity". In the 60s of the XX century. The impetus for the allocation of this type of thinking was the information about the lack of a connection between intelligence and the success of solving problem situations. It was found that the latter depends on the ability to use information given in tasks in different ways at a fast pace. This type of thinking J. Gilford, N. Marsh, F. Haddon, L. Cronbach, E.P. Torrens called creativity and began to study it independently of intelligence - as thinking associated with the creation or discovery of something new.

To determine the level of creativity, J. Gilford singled out 16 hypothetical intellectual abilities that characterize creativity.

Among them:

fluency of thought - the number of ideas that arise per unit of time;

flexibility of thought - the ability to switch from one idea to another;

originality - the ability to produce ideas that differ from generally accepted views;

curiosity - sensitivity to problems in the surrounding world;

ability to develop a hypothesis;

unreality - the logical independence of the reaction from the stimulus;

fantastic - complete isolation of the answer from reality in the presence of a logical connection between the stimulus and the reaction;

the ability to solve problems, that is, the ability to analyze and synthesize;

the ability to improve an object by adding details; etc .

Among the creators of theories and tests of creativity for children, the most famous is another American psychologist who devoted his whole life to this problem. This is Paul Torrance. Creativity studies were started by him in 1958, but long before that were prepared by his practical work as an educator and psychologist with gifted children and adults.

Creativity was defined by E. P. Torrens as a process of emergence of sensitivity to problems, lack of knowledge, their disharmony, inconsistency, etc.: fixing these problems; search for their solutions, hypotheses; testing, changing and retesting hypotheses; and. finally, the formulation and communication of the result of the decision (1974). In order to more accurately define what creativity is, Torrens considered at least about fifty formulations.

As a result, he settled on the definition of creativity as a natural process that is generated by a strong human need to relieve tension that arises in a situation of uncertainty or incompleteness. Considering creativity as a process makes it possible to identify both the ability to be creative and the conditions that envelop and stimulate this process, as well as to evaluate its products (results).

E.P. Torrance identifies four main parameters that characterize creativity:

ease - speed of execution of text tasks;

flexibility - the number of switches from one class of objects to another in the course of responses;

originality - the minimum frequency of a given response to a homogeneous group;

accuracy of tasks.

Guilford developed a battery of tests to diagnose creativity (10 tests for verbal creativity, 4 for non-verbal creativity). Here are examples of some tasks for creativity: test "ease of word usage" (write as many words as possible containing the letter "o"); test of "fluency of ideas" (write as many words as you can denoting objects, phenomena that can be white); test for "flexibility of ideas, flexibility in the use of objects" (indicate as many as possible different ways use of a tin can); a test for "composing images" (compose as many different images as possible using a set of shapes: a triangle, a square, a circle, a trapezoid).

There are three approaches to the problem of developing creative thinking:

• 1) genetic, assigning the main role of heredity;
• 2) environmental, whose representatives consider external conditions to be the decisive factor in development;
• 3) genotype - environmental interaction, whose supporters distinguish different types of adaptation of the individual to the environment, depending on hereditary traits.

In our work, we will adhere to the 3rd approach, according to which the development of creativity proceeds according to the following mechanism: on the basis of general giftedness, under the influence of the microenvironment and imitation, a system of motives and personal properties (nonconformism, independence, self-actualization motivation) is formed, and general giftedness is transformed into actual creativity.

However, there are several directions in this approach. V.N. Druzhinin, V.I. Tyutyunina and others consider it necessary for the development of creative thinking: the absence of regulation of subject activity, more precisely, the absence of a model, regulated behavior; the presence of a positive model of creative behavior; creating conditions for imitating creative behavior and planning manifestations of aggressive and destructive behavior; social suppression of creative behavior.

They highlight the connection between the conditions and everyday life of the individual and the level of creative thinking achieved by him. The idea is that the same aspects of the situation that lead to learning are conducive to the development of creative thinking: repetition and reinforcement. And the stage of imitation is a necessary link in the development of a creative personality.

Bono E. The development of creative thinking is not reduced to the accumulation of experience, but is presented as a structural change in the operational composition. Development (in the framework of the theory of J. Piaget) is interpreted as the emergence of a balanced structure or balancing (the emergence of a cognitive conflict). Creative thinking develops through processes similar to "balancing" and triggered by the occurrence of cognitive conflict.

Molyako V.A. developed a developmental method based on social interaction. The idea of ​​social learning is that we are able to learn by observing the behavior of other people and accepting its pattern. Patterns of creative behavior can convey a certain approach to solving problems, to determining the search area.

Thus, there are two directions of the problem of development of creative thinking:

• 1) the influence of the conditions of education and everyday life;
• 2) conducting a developmental experiment.

Development takes place in the process of education and upbringing. It is formed in the process of interaction with the world, through mastering the content of material and spiritual culture, art in the process of learning. Therefore, it is possible to talk about a special, purposeful formation of creative thinking, about a systemic formative impact.

The analysis of the problem of the development of creative abilities will largely be determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really? Many researchers reduce the problem of human abilities to the problem of a creative person: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect the creative success of a person, if in the course of the development of creativity the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - a “Creative Person”.

Thus, in its most general form, the definition of creative abilities is as follows. Creativity is individual characteristics, the qualities of a person that determine the success of his performance of creative activities of various kinds.

There are three main approaches to the problem of creativity. They can be formed in the following way.

1. As such, there are no creative abilities. Intellectual giftedness acts as a necessary but not sufficient condition for the creative activity of an individual. The main role in determining creative behavior is played by motivations, values, personality traits(A. Tannenbaum, A. Olokh, D. B. Bogoyavlenskaya, A. Maslow and others). Among the main features of a creative personality, these researchers include cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

The main one is the concept of D. B. Bogoyavlenskaya, which introduces the concept of creative activity of the individual, believing that it is due to a certain mental structure inherent in the creative type of personality. Creativity, from the point of view of Bogoyavlenskaya, is a situationally unstimulated activity, manifested in the desire to go beyond the limits of a given problem. A creative personality type is inherent in all innovators, regardless of the type of activity: test pilots, artists, inventors.

• 2. Creativity (creativity) is an independent factor, independent of intelligence(J. Gilford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a softer version, this theory says that there is a slight correlation between the level of intelligence and the level of creativity. The most developed concept is E. P. Torrance's "theory of the intellectual threshold".
• 3. A high level of intelligence implies high level creativity and vice versa. There is no creative process as a specific form of mental activity. This point of view was and is shared by almost all experts in the field of intelligence (D. Wexler, R. Weisberg, G. Eysenck, L. Theremin, R. Sternberg and others).

Weisberg argues that creative thinking is diagnosed by the quality of the product, not the way it is obtained. Any cognitive process, from his point of view, is based on past knowledge and entails their transformation in accordance with the requirements of the task.

Recently, Sternberg's concept has become widespread. According to Sternberg, intelligence is involved both in solving new problems and in automating actions. In relation to the external world, intellectual behavior can be expressed in adaptation, choice of the type of external environment or its transformation.

The creative possibilities of a person are not directly and directly related to his ability to learn, they are not always reflected in intelligence tests. On the contrary, creativity can be stimulated not so much by the diversity of existing knowledge, but by receptivity to new ideas that break established stereotypes. Creative solutions often come at a moment of relaxation, distracted rather than intense attention, although prepared by the previous persistent search. An example of such an "insight" is the discovery by D. I. Mendeleev of the periodic system of elements in a dream after 15 years of hard and hard work.

Nemov R.S. considering the problem of abilities, defines them in a narrower sense, saying that abilities are something that does not come down to knowledge, skills and abilities, but explains (provides) their rapid acquisition, consolidation and use in practice.

One of the theories of abilities that we considered in our work belongs to B. M. Teplov. In his work “Problems of Individual Differences”, he considers abilities primarily as individual psychological differences between people. Giving a definition of abilities, B. M. Teplov believes that it should include three features. First, abilities are understood as individual psychological characteristics that distinguish one person from another; no one will talk about abilities where it is a question of properties in respect of which all people are equal.

Secondly, abilities are not generally called individual characteristics, but only those that are related to the success of an activity or many activities.

Thirdly, the concept of "ability" is not limited to the knowledge, skills or abilities that a given person has already developed.

Understanding abilities as such individual psychological characteristics that are related to the success of this or that activity, B. M. Teplov raises the question that the successful implementation of any type of human activity can be ensured not by a separate ability, but only by that peculiar their combination, which characterizes this person. Moreover, these individual abilities, according to B. M. Teplov, are not just adjacent and independent of each other, but each of them can change, acquire a qualitatively different character, which depends on the presence and level of development of other abilities.

BM Teplov puts forward the thesis that successful creative performance of an activity can be achieved in psychologically different ways. “There is nothing more lifeless and scholastic than the idea that there is only one way to successfully carry out any activity. These methods are infinitely varied, as diverse as human abilities are," he emphasizes. It is and in humans these conditions have public character". Emphasizing the connection of abilities with some properties of higher nervous activity, he warned against their identification: "... you can not try to reduce even the individual, simplest elements of abilities to individual properties of the nervous system ... Human abilities are formed according to specific psychological patterns, and not inherent in the properties of the nervous system" .

The cited statements of B.M. Teplova are of great importance for understanding abilities. The main ones that will be taken into account in our work are: the position on the role of activity in the development of abilities (which, nevertheless, did not receive sufficient development in his works); understanding of abilities as individual psychological characteristics related to the success of any type of activity; the idea of ​​a qualitative difference in the abilities of different people and of the difference in the ways that individuals can use when performing the same type of activity, as well as the conclusion that it is impossible to go directly from the analysis of individual abilities to the question of the possibility of successful performance by a given person of one or another other activity.

The problem of abilities received fundamental theoretical and practical development in the works of S. L. Rubinshtein, primarily in terms of the development, formation of abilities, and later in terms of revealing their psychological structure.

In his first works, S. L. Rubinshtein understood abilities as suitability for a certain activity. He believed that the main indicators that make it possible to judge abilities are the ease of assimilation of a new activity, as well as the breadth of the transfer of the ways of perception and action developed by an individual from one activity to another. Ability, according to S. L. Rubinshtein, is a complex synthetic formation of personality.

He believed that abilities are based on "hereditarily fixed prerequisites for their development in the form of inclinations", which refers to the anatomical and physiological features of the human neuro-cerebral apparatus. At the same time, he wrote that, “developing on the basis of inclinations, abilities are nevertheless a function not of inclinations in themselves, but of development, in which inclinations enter as an initial moment, as a prerequisite.” S.L. Rubinshtein, a clearer methodological understanding of inclinations is outlined than that of B. M. Teplov.

S. L. Rubinshtein, like B. M. Teplov, believes that abilities are not limited to knowledge, skills and abilities. Analyzing their relationship, the author writes about the mutual conditionality of these concepts: on the one hand, abilities are a prerequisite for mastering knowledge and skills, on the other hand, abilities are formed in the process of this mastery. For the whole problem of abilities, the author’s position is of particular interest and significance that “as a person, on the basis of a certain system of knowledge, truly masters the methods of generalization, inference, etc., he not only accumulates certain skills, but develop certain abilities.

Abilities develop on the basis of various psychophysical functions and mental processes. Rubinstein is already talking about the role of psychophysical functions. Later, developing the approaches of Teplov and Rubinshtein, Shadrikov V.D. used the concept of “functional system” to define the concepts of “abilities” and “giftedness” from the standpoint of psychophysical functions Rubinstein several times defines abilities in a different light. Defining ability in terms of development, Rubinshtein outlines the duality of the approach in defining abilities: “It (ability) is a complex synthetic formation that includes a number of qualities without which a person was not capable of any activity, and properties that are only in the process in a certain way. organized activities are developed.

Thus, unlike Teplov, B.M. Rubinshein S.L., along with the activity approach, also refers to the personal approach in determining abilities, when a person is considered not only as being formed in the process of activity, but also predetermining the nature of this activity.

For S. L. Rubinshtein, activity is the basis for the development of abilities. He believes that human abilities are “first of all, the ability to work, to learn. In labor, training, they develop.

The problem of abilities received a more detailed and consistent development in the work of S.L. Rubinstein "Being and Consciousness".

The author, in contrast to other existing points of view, connects abilities not with the specific nature of human activity, but with the development of mental processes: thinking, perception, etc. He writes: “... the mental process turns into ability, as connections , which determine its course, are "stereotyped". As a result of this stereotyping, the mental process, as such, ceases to appear in a visible way, leaves consciousness: on the one hand, a new “natural ability” remains in its place - in the form of a stereotyped system of reflex connections, on the other hand, a product of what has become thus invisible mental process, which now seems to be unknown as a product of the ability connected with it.

This means that the natural component of the ability is not only innate inclinations, but also the natural qualities or characteristics of a person in their development and improvement. They acquire the "appearance" of the ability under the influence in a certain way the prevailing conditions of life and activity of the individual. The natural component, being included in the composition of abilities, in this capacity is subject to further development depending on social conditions.

At the same time, Rubinstein believes that natural ability is “not just a possibility, but a real ability”, this is what “is obtained by a person in his communication with the world”.

Socially developed knowledge and methods of action influence the development of the mental properties of the individual. However, the transformation of these properties into an ability (for example, thinking - into a developed thinking ability, simple perception - into artistic creativity, etc.) is possible only under certain conditions of the individual's activity.

The idea of ​​social conditioning of the development of abilities does not remove the question of abilities as a natural formation. S.L. Rubinstein wrote: “However, on the basis of the dependence of a person’s capabilities on the social methods of his activity mastered by him, it is by no means possible to conclude that his abilities are independent of the same for everyone. They are only expressed in different ways and combined in different ways.

Psychologists identify criteria for the development of creative abilities, in particular, Simanovsky A.E. proposed in the practice of teaching and nurturing creative abilities at school to rely on the following criteria:

Feeling new

The ability to transform the structure of an object

Focus on creativity

criticality

And as indicators he proposed, respectively

Ability and desire for knowledge

Positive self-esteem, self-confidence and abilities

The development of a sense of beauty, the desire to realize their abilities and capabilities

Possession of the ability to reflect, evaluate and self-evaluate.

An analysis of the psychological and pedagogical literature on the problem of abilities, creative abilities, consideration of approaches to the problem of developing abilities, creative abilities made it possible to highlight the provisions that are important for our study.

We found out that the essence of abilities is not limited to knowledge, skills and abilities, but the concepts of knowledge, skills, skills and abilities are mutually dependent: on the one hand, abilities are a prerequisite for mastering knowledge and skills, and on the other hand, in the process of mastering skills and knowledge, development takes place. abilities.

The main indicators that make it possible to judge the level of development of abilities are the ease of assimilation of a new activity, as well as the breadth of the transfer of the ways of perception and action developed by the individual from one activity to another.

The development of abilities takes place in ascending order, or, as S.L. Rubinstein, “in a spiral”: first, opportunities are realized, while opportunities represent abilities of the same level, as a result of which opportunities for further development open up, i.e. to develop higher level skills.

Abilities are divided into general and special. In modern domestic psychology, abilities are distinguished from the point of view of psychophysiological functionality, highlighting mental, motor, mnemonic, speech and creative.

Creativity refers to a group divided into educational and actual creative abilities. At the same time, creative abilities are understood as those that determine the process of creating objects of spiritual and material culture, the production of new ideas, discoveries and inventions. In other words, creative abilities determine the process of individual creativity in various areas of creative activity.

After analyzing the definition of the essence of some creative abilities, we came to the conclusion that creativity is indeed a complex synthetic concept. The level of their development must be determined by the general criteria of focus on creativity, a sense of novelty, criticality and flexibility of thinking (the ability to transform the structure of an object, the ability to overcome functional fixedness).

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

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

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

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

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

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

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

Develop creativity? What does it mean?

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

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

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

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

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

Puzzles, crossword puzzles, puzzles are used ...

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

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

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

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

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

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

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

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

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

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

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

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

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

You have cards with words on your tables

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

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

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

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

There are practical tasks

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

Speech assignments

• Continuation of the work (inventing your own ending)
• writing

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

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

We read books together.

With dad every weekend.

I have two hundred pictures

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

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

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

Another technique in my work is "Drudles"

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

Each answer develops imagination and creative thinking.

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

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

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

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

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

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

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

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

Features of the development of creative abilities of younger students

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

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

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

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

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

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

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

Ways to stimulate creativity:

Ensuring a favorable atmosphere

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

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

Encouraging the expression of original ideas

Providing Opportunities for Practice

Using a personal example creative problem solving approach

Giving children the opportunity to actively ask questions

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

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

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

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

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

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

Related publications:

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

Diagnosis by E. E. Tunik to identify the level of development of research skills in primary school students Made in our country and abroad fundamental research on the psychology of research activities, general and special abilities.

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

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

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

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MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

FSBEI HPE "Togliatti State University"

Institute of Humanitarian and Pedagogical

Department of Pedagogy and Teaching Methods

Profile Primary education

TEST

"Creative development of younger students"

STUDENT M.S. Chaburkina

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

Tolyatti, 2013

Introduction

1. The concept of creativity in pedagogy

2. Childhood and creativity

Conclusion

Bibliography

Introduction

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

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

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

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

1. The concept of creativity in pedagogical activity

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

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

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

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

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

2. Childhood and creativity

At the initial stage of ontogenesis, the main priority is the subjective side of the child's creative activity. At an early age, DT is formed in the course of cognition of the properties of the objective world, as well as interaction with people around it in game form. AT preschool age DT is manifested in the creation of the plot of a role-playing game and in productive activities: drawing, word creation, modeling, design.

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

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

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

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

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

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

Children's creativity and personality of the child.

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

children's creativity pedagogy didactic

3. Search activity as the basis of creativity

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

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

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

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

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

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

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

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

4. Project-based learning in elementary school

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

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

1. Carry out preparatory work.

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

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

Each project must be provided with everything necessary:

* material and technical and educational and methodological equipment,

* staffing (additionally involved participants, specialists),

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

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

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

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

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

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

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

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

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

4. Carefully choose the fundamental question of the project.

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

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

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

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

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

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

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

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

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

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

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

Preparation for the didactic game includes:

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

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

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

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

Determining the number of players;

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

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

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

Conducting didactic games includes:

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

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

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

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

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

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

Bibliography

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

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

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

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

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

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

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

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

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

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

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

12. Pakhomova N. Yu. Method of educational projects in educational institution: A Handbook for Teachers and Students of Pedagogical Universities. -- M.: ARKTI, 2003.

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Federal Agency for Education

Kuzbass State Pedagogical Academy

Chair humanitarian disciplines and teaching methods

Final qualifying work

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

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

Shipunova Anastasia Vladimirovna

Novokuznetsk 2009

Introduction

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

1.2 Analysis practical experience development of creative abilities of younger students

Conclusions on Chapter I

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

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

Conclusions on Chapter II

Conclusion

Bibliography

Appendix

Introduction

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

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

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

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

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

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

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

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

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

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

During the study, the following tasks were solved:

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

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

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

4. Reveal effective conditions development of creative abilities of younger schoolchildren in the lessons of literary reading.

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

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

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

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

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

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

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

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

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

1. perception of the problem;

2. search for a solution;

3. the emergence and formulation of hypotheses;

4. hypothesis testing;

5. their modification;

6. finding results.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

5. The ability to easily associate distant concepts.

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

7. Flexibility of thinking.

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

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

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

11. Creative imagination.

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

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

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

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

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

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

1. The ability to take risks.

2. Divergent thinking.

3. Flexibility in thought and action.

4. Speed ​​of thinking.

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

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

8. High aesthetic values.

9. Developed intuition.

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

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

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

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

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

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

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

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

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

1. The ability to take risks.

2. Divergent thinking.

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

4) social reinforcement of creative behavior.

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

1) problematic presentation of knowledge;

2) discussion;

3) research method;

4) creative work of students;

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

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

1) by the result (product) of activity;

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

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

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

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

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

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

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

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

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

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

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

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

1) warm-up;

2) development of creative thinking;

3) fulfillment of developing partial search tasks;

4) solving creative problems.

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

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

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

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

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

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

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

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

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

1. Usage intellectual tasks, which can be solved by heuristic methods.

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

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

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

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

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

Interdisciplinary approach in formulating problems;

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

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

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

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

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

Various types of essays, presentations, creative dictations;

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

Drawing up tables, diagrams;

- "discovery" of ways of word formation;

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

Distribution of offers;

Coming up with endings for stories;

Drawing up drawings using stencils;

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

Creation of filmstrips for literary works;

Staging, dramatization, "revival" of pictures;

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

Creation of visual, sound, taste images of letters;

Selection of synonyms, antonyms;

The study of phraseological turns.

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

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

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

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

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

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

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

Table 1

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

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

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

table 2

Levels of development of creative abilities of younger students

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

Characteristics of the levels of creative abilities of younger students

1.High level.

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

2. Average level.

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

3.Low level.

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

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

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

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

Table 3

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

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

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

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

Conclusions on Chapter I

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Let's give some examples - from practice.

Riddles competition.

Making riddles.

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

The children continue. Lies in the sun

He squints.

Another offers. Her mice are afraid.

The third. She has one concern:

Go hunting at night!

Lies round, golden

I opened my mouth as much as I could

Took a big bite.

I thought it would be sweet

It turned out sour, nasty!

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

Wave upon wave ran,

The wave drove the wave.

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

Here is another auditory image, “rumbling”:

When the first spring thunder

As if frolicking and playing,

Black raven in the snowy dusk.

Peace to the aspens, which, spreading its branches,

We looked into the pink water.

(S. Yesenin.)

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

(M. Tsvetaeva.)

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

Grandma just fell asleep...

And received a collection of funny poems:

Grandma just fell asleep

Murzik quickly got off the chair,

Started walking around the room

Jump, run, wake everyone up.

Morning has finally come

The fugitive walked a lot,

The naughty trudged home

Dirty, wet and lame.

The first snow fell to the ground

All at once it became light!

It is fluffy, bright, white,

It lies lightly on the ground.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

6. Structural and compositional work (story plan):

Birds are "winterers".

Bird food in winter.

Getting food.

7. Role play. Image of birds.

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

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

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

3. Drawing up a plan for a future story:

A) the first spring thunder,

B) nature is awakening,

C) people rejoice in spring.

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

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

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

Table 6

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

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

Table 7

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

(first and second ascertaining experiment)

Analysis of the results of the second stating

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

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

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

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

Conclusions on Chapter II

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

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

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

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

Conclusion

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

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

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

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

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

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

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Applications

Appendix 1

Method "Compositor"

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

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

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

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

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

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

Appendix 2

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

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

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

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

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

Annex 3

Method "Three words"

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

Words for work: birch, bear, hunter.

Evaluation of results:

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

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

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

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

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

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

Appendix 4

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

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

Type of lesson - familiarization with new material.

This lesson used active forms activities of students, were used: modeling methodology, differentiated and individual work with children, information Technology, group work.

Lesson Objectives:

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

learn how to plan a work using modeling.

Lesson objectives:

Educational:

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

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

reveal artistic features epics;

Developing:

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

form literary ideas

Educational:

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

Planned achievements of students in the lesson:

name epics correctly and highlight their features

compare heroes - positive and negative

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

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

Equipment:

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

Visual range:

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

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

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

Sound range:

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

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

During the classes

I. Generalization of existing knowledge about oral folk art.

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

It is necessary to restore the missing element - epics.

Slide number 1.

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

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

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

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

After that comes the work with the slide.

II. Learning new material.

1. Slide number 2.

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

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

2. Slide number 3 (image of a hero)

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

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

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

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

Today we will meet one of them.

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

(listening to an audio cassette with an epic)

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

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

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

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

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

Vocabulary in the classroom.

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

Rawhide belts - durable belts made from raw animal skin

Tyn - fence

Chambers of princes - a large rich room

Kaftan - men's outerwear

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

Druzhina - princely army in Ancient Russia

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

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

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

Individual task for the student:

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

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

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

What difference did you see?

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

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

1 group (weak)

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

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

2 group (middle)

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

3 group (strong)

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

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

Work with the whole class.

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

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

Independent work of children.

Checking completed work.

8. Crossword

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

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

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

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

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

9. Literary dictation

Epic, hero, epic hero, Russia, Ilya Muromets, Burushka-Kosmatushka, Nightingale the Robber, Karacharovo village, Smorodina river

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

Mu Homework:

artistic retelling of the epic

draw heroic armor

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

Type of lesson: generalization and systematization of knowledge.

Lesson form: lesson-game with competition elements.

Lesson Objectives:

1. Educational:

to consolidate the concepts of oral folk art;

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

2. Developing:

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

development of competent oral speech;

development of expressive reading skills

3. Educational:

upbringing careful attitude to oral folk art;

education of moral qualities.

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

Benefits: texts of nursery rhymes, fables.

Lesson plan:

1. introductory word teachers.

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

3. The result of the lesson.

4. Homework.

During the classes

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

Today we have an unusual lesson

On it we will sum up the work.

On the genres of oral folk

Let's talk creativity

Let's repeat what we have read.

Whether in the garden, in the garden

The girl was walking

Whether in the garden, in the garden

Watered the flowers.

One flower plucked

And handed it to us in class.

2. The topic of the lesson.

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

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

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

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

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

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

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

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

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

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

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

Each team names their proverbs and explains them.

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

“Whoever is literate is not the abyss.”

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

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

2 task.

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

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

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

3 task.

One two three four five -

Calculate guys

What are in the circle here.

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

Each team must give an example of their own rhyme.

Well done boys! Here comes the next petal.

4 task.

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

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

A cat married a cat.

The cat is walking on the bench.

And the kitty - on the bench,

Catches a cat by paws:

Oh you kitty, kitty

Cool little one!

Play with me cat

With Masha, a young cat!

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

Each row should give an example of its nursery rhyme.

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

The sparrow flew, flew.

He flew, he flew young.

Over the blue sea.

I saw, I saw a sparrow.

I saw, I saw young

How girls walk

And the girls walk like this

And like this, and like this,

This is how the girls go.

The sparrow flew, flew.

I flew, I flew young

Over the blue sea.

I saw, I saw, sparrow,

I saw, I saw, young,

How do guys walk.

And the boys walk like this

And like this, and like this,

That's how the guys go.

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

5 task.

Guys, who can say what is fiction?

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

A merchant walked past the market,

tripped over a basket

And fell into a hole - bang!

Squashed forty flies.

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

Children's answers.

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

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

6 task.

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

It's a mystery.

Then for you guys

One riddle.

1 team.

Not a rider, but with spurs,

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

And how did you guess?

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

2 team.

Not a tailor, but all my life

Walks with needles. (hedgehog)

And how did you guess?

He has a lot of needles.

3 team.

Two bellies, four ears (cushion)

Explain how you determined it was a pillow.

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

Here is the next petal opened.

7 task.

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

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

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

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

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

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

Children's answers

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

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

Here's another petal open.

(Comment. We learned to work with the images of characters, the text of the work, practicing the ability to read “aloud” and “silently.” Setting a learning task is the goal of working in a textbook, the ability to navigate in a textbook and in a notebook, independently choose the operation of working with a textbook, working out search reading , expressive reading Work on leaflets - frontal verification of knowledge gained.)

8 task.

What is a fairy tale? Children's answers.

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

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

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

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

Demonstrate illustrations, children's answers.

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

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

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

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

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

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

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

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

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

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

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

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

Additional material.

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

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

2. Crested laughter

Laughed with laughter:

Ha ha ha!

3. An apple rolled past the garden,

Past the garden, past the city.

Whoever picks it up will get out!

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

Lesson-journey "Meeting with a fairy tale"

The purpose of the lesson:

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

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

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

Equipment:

exhibition of books "Russian folk tales";

cards with excerpts from fairy tales;

items for staging fairy tales: tablecloth, plate

bag, bucket, broom.

visual material depicting objects from fairy tales.

tables with the names of fairy tales;

rooster, mouse, snow maiden masks

illustrations for Russian folk tales;

During the classes

1. Organizational moment.

2. Setting the goal of the lesson.

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

3. Actualization of knowledge.

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

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

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

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

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

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

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

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

Who does not believe - let him believe

I am glad to any guest!

Opening doors to a fairy tale

I invite all the guys!

4. Work on fairy tales.

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

Station "Mysterious" (a student comes out)

Fairy tale, fairy tale, joke

Telling her is not a joke.

To a fairy tale first,

Like a river murmured

So that by the end both old and small

She didn't fall asleep.

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

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

(children's answers)

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

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

1) Someone for someone

Grabbed tight:

Oh, can't pull it out

Oh, stuck tight.

But more helpers will soon come running:

Friendly common work will win the stubbornness

Who sat down so tight?

Maybe this: (Turnip).

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

3) "The fox carries me for dark forests, for fast rivers, for high mountains"(Cock).

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

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

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

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

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

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

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

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

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

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

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

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

The red girl is sad

She doesn't like spring

She's hard on the sun

Tears are shed, poor thing.

(Snow Maiden).

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

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

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

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

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

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

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

Finished the job -: (walk boldly.)

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

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

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

Bitter work: (yes bread is sweet).

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

Russian folk tale "Spikelet".

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

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

Who owns these words from a fairy tale?

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

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

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

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

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

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

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

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

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

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

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

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

about industriousness ("Morozko")

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

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

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

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

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

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

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

Let the heroes of fairy tales give us warmth,

May good always triumph over evil!

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

Summary of the lesson.

What new did you learn at the lesson today?

For whom was the lesson difficult?

What did you especially like?

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

Homework.

Continue reading Russian folk tales.

Annex 5

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

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

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

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

Appendix 6

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

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

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

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