Speech, thinking and visual activity: what is the relationship?

The development of speech in children. The development of thinking in children. Speech, thinking and visual activity. Some common features in the development of speech and drawing. The influence of visual activity on speech and thinking. Drawing as an indicator of the neuropsychic development of the child. Psychological tests. Determination of a child's readiness for school.

Some common features in the development of speech and drawing.

Watching young children, one cannot fail to notice how often, when telling one fairy tale, they jump to another or, having started one poem, suddenly switch to another. Apparently, some random associations are the reason for this.

Roma P. 3 years 2 months reciting a poem:

white cat,
gray tail,
That's how, that's how
Gray goat!

As you can see, Roma began to talk about the cat, and finished - about the goat.

Lenya V., 3 years 3 months old, told a fairy tale about a hen-ryaba. When he came to the words "grandfather is crying, woman is crying," he jumped to another tale: "How can I not cry? The fox climbed into my house and does not leave!"

We said that random associations lead to such jumps. But are they really random? Maybe there is some pattern in this phenomenon?

With Roma - this is quite obvious - the reason for the jump was the word "gray", it was included in both verses, that is, in two memorized verbal stereotypes. With the verse about the goat, this word probably turned out to be more connected, and therefore there was a slippage to a more fixed stereotype. For Leni, the reason for the jump was the word "cries", which is also included in both fairy tales.

This means that such jumps are not at all random, they are explained by the fact that this or that word is included in two stereotypes, and if one of them is stronger, then slipping onto it occurs. It is interesting to note that the children themselves do not notice that they continue to talk about something completely different. The phenomenon of slipping into another stereotype is also extremely vividly expressed in the drawing of young children. E. I. Ignatiev gives a very good example; the child began to draw a cat, but after making a few strokes, he said that it was a tower, then he added a series of rectangles (windows) and said: "Nice house!"

In our observations, such transformations of depicted objects in the course of drawing were encountered quite often in children. Here Katya N., 3 years 4 months old, began to draw her mother, but she made her hair too lush and said: "It looks like a bow. I went for a walk!" However, further, crossing out fatter and fatter legs, she finally remarked with satisfaction: "That's a big bridge!"

As in speech reactions, such jumps in drawing are explained by the fact that some element of the drawing evokes association with another system, another visual image, and the child's thought goes in a different direction.

A. G. Ivanov-Smolensky, in experiments on the study of conditioned reflexes in children, also observed that if there is some common element in two systems of conditioned stimuli (which is included in both systems), then this creates a kind of "drainage" for the transition of excitation from one system to another. Ivanov-Smolensky further showed that the phenomenon of "drainage of excitation" also occurs in older children, but in them it no longer manifests itself in slipping from one stereotype to another, but remains in a latent form.

We, adults, can observe this phenomenon on ourselves - some kind of sensation, a word heard, etc. causes us not one, but several associations. However, we continue to develop a certain thought, inhibiting the side ones.

Thus, the frequent slips of thought noted in babies have a completely understandable physiological basis.

The influence of visual activity on speech and thinking.

Many scientists have noted that drawings have a strong stimulating effect on the development of children's speech and mental activity. The Russian teacher K. D. Ushinsky once wrote that a picture is a powerful means of "untying" a child's language: he asks questions about what he sees in the picture, shares his impressions.

Particularly great importance is attached to the connection between drawing and thinking, since drawing is, in fact, also a story, but not with words, but with pictorial means. This can be seen very clearly already in children at the age of about three years: not only the picture shown, but also their own drawing (no matter how primitive it may be from our adult point of view) stimulates the mental activity of the children.

Rice. 1. Wolf on a rope. Julia E. 2 years 7 months.

Yulya E. 2 years 7 months drew an irregular oval and says: "Wolf" (Fig. 1.1), then depicted four uneven lines located in a bundle, separate from the "torso" (Fig. 1.2), these are legs; after some thought, she added a line crossing the wolf (Fig. 1.3), and explained: "Well, this is a rope - so as not to run away!"

At the same age, Julia told a semblance of a fairy tale, and her own drawing served as an occasion. At first, the girl aimlessly drew a pencil across the paper (Fig. 2.1) and suddenly began to tell: “There once was a wolf” ... She drew a squiggle next to it and continued in the same narrative tone. "He met his grandmother" (Fig. 2, 2). "And now the wolf wants to eat the grandmother!"

Rice. 2. Wolf and grandmother. Julia E. 2 years and 7 months.

Lusya R. 2 years 8 months drew a girl and said: "A girl ... a girl is ..." (Fig. 3, 1), added something like a horn on her head with a red pencil (Fig. 3, 2) and exclaimed : "Ah! It's Little Red Riding Hood!" - and immediately switched to a narrative tone, with which kids tell fairy tales: "Here Red is coming Riding Hood, and suddenly... a wolf..." Lucy diligently draws a wolf (Fig. 3, 3) and at the same time says: "... and suddenly the wolf - am Little Red Riding Hood! No, he's my grandmother am!"

Rice. 3. Little Red Riding Hood. Lucy R. 2 years 8 months.

Vitya B., 3 years 3 months old, drew an irregular large oval (Fig. 4): "This is a car." I drew many circles around the oval: "These are wheels. The car is driving." Some circles turned out to be more correct, and two - crossed out (Fig. 4.1), and Vitya was upset: "Eh!" - but immediately smiled: "These are the rudders! Here's how I'll start to steer the rudders, as I go!"

Rice. 4. Car with rudders. Vitya B. 3 years 3 months.

The stimulating effect of drawing on the emergence of new associations, i.e., on the course of mental activity, is clearly visible in children and at an older age.

Marisha K., at the age of 3 years 7 months, drew a girl (Fig. 5.1), laughed: "It's me, here's my blue dress!" - and she began to tell: "Once upon a time Marishenka! She once went for a walk alone. She forgot a little that you can’t leave alone. And suddenly ..." Then she began to hastily draw the second figure (Fig. 5.2) with a broomstick in her hand (Fig. 5.3). "... Towards Baba Yaga! She's with such hands ... scary! And she says:" I'll eat you! - "And Marisha ran away to her grandmother!"

Rice. 5. Marishenka and Baba Yaga. Marisha K. 3 years and 7 months.

This important fact the influence of visual activity on speech and thinking is often not taken into account not only by parents, but also by employees of child care institutions. We constantly have to observe that during drawing lessons in kindergarten, the teacher stops the talking children, does not allow them to "distract themselves from work by chattering." In fact, drawing and speech activity mutually stimulate each other, and a verbal description of what the child depicts should even be encouraged.

The speech (and mental) activity of the baby is also activated by simply looking at the finished pictures. Children willingly compose whole stories based on them, and the development of the plot is determined precisely by the drawing. So, for example, Antosha Shch. has been drawing little and reluctantly for 5 years, but with pleasure composes fairy tales from pictures that he finds in magazines. Looking at a picture depicting a bird's nest on a tree, he began to tell: "Once a boy went to the forest for mushrooms. He walked for a long time and then he saw birds in a nest. He liked it very much, he wanted to live in such a nest. He asked:" Birds, birds How can I make the same nest?" The birds said - "From the bark, straw, and cover with cotton wool inside." He did just that, the nest turned out very good, he began to live there, and the birds brought him food. And his parents are waiting - they are waiting at home, but the boy is still not there. They went into the forest and found him, were delighted and took him home."

Why does drawing have such a stimulating effect on the activity of the child's brain?

First of all, we must not forget that the thinking of children in the first years of life is primarily figurative thinking, and drawing, providing a visual basis, greatly facilitates the process of "linking" associations. In addition, the visibility and figurativeness, and often the colorfulness of the drawing, affect the emotional sphere of the child: the appearance of an image under a pencil or brush gives him pleasure, and any positive emotion, as you know, increases the tone of the cerebral cortex, which facilitates the flow of associative processes.

Drawing as an indicator of the neuropsychic development of the child.

For a long time, psychologists, educators and doctors have paid attention to the fact that the drawings of children reflect many features of their mental development, character, their attitude to the depicted people, events, etc. In many countries, the drawings of a child are used to get an idea of how his mental development corresponds to age norms, whether there are any deviations in the psyche.

In American child psychology, there are a number of systematic studies in this direction. Since the 1920s, it has been studying the characteristics of the development of the child with the help of such tests as the image of a person. Florence Goodenough - famous child psychologist- determined the level of intellectual development of children in the age aspect and compared the results obtained with a sample of a person's image. Attention was paid not to the technical side of the drawings, but to the correctness of the "body scheme", that is, to how the child arranges the body parts one relative to the other - after all, this reflects the correctness of the baby's ideas.

C. Gaitskell's detailed studies show that there is a direct relationship between the level of a child's mental development and the nature of his visual activity. Gaitskell collected very great material observations regarding healthy, well-developed children and children who have intellectual retardation. He established that the visual activity of mentally retarded children is always delayed, and the degree of this delay corresponds extremely exactly to the degree of defect in mental development.

William Frankenburg, using the data of other authors and his own, gives the following sequence of stages in the formation of children's visual activity (see table).

At the age of about three years, the child begins to draw a person consisting of three parts (usually from the head, eyes and legs - the paired parts in the drawing are considered one part).

At 4-4.5 years old, the kid draws a person already from six parts. How demonstrative the results of these tests are, how much information they give us about the child, can be seen from the examples given here.

Rice. 6. Copying a circle. A - sample; B - copy made by Kostya M. 2 years 3 months (correctly developing child); C - copy made by Vasya Ch. 4 years 5 months (mentally retarded child).

Rice. 7. Copying the cross. The designations are the same as in Fig. 6.

Rice. 8. Copying a square. The designations are the same as in Fig. 6.

On fig. 6, 7 and 8, samples are reproduced with copying images of a circle, a cross, a square for a healthy, correctly developing child and a mentally retarded child (who is even older in age).

Kostya M. gives drawings on a somewhat smaller scale, the lines are uneven, sometimes broken, but still the boy quite accurately conveys the contour of the figure he copies, you can recognize a circle, a cross, and a square.

As for the second child, Vasya Ch., he draws lines that do not form any contour, he is not able to even approximately reproduce the figure that he was given as a model.

No less interesting is the test with the image of a person. On fig. 9 Lida V., 4 years 3 months, a girl is depicted approximately as children of this age do: there is a head (with eyes, a mouth and even a bow!), neck, torso, arms and legs; the spatial arrangement of all parts of the body is absolutely correct. So Lida already has enough clear view about the scheme of the body, about how the parts of the body are located relative to each other.

Rice. 9. It's me! Lida V. 4 years 3 months (correctly developing child).

On fig. 10 we also see the image of a girl, but it was made by a mentally retarded child, Raya N. 6 years 1 month. The legs move away from the head, the face is given in front, the nose is attached to the side; next to it is a belly with a navel, three arms protrude from the belly. Rai's idea of ​​the body scheme is broken, but she herself does not notice this; when asked why the head and torso are drawn separately, she could not answer, just as she could not tell where the person's head, stomach, and leg are.

Rice. 10. Raya N. 6 years 1 month (mentally retarded child).

A large amount of observational material was collected by the Hungarian children's doctors G. Kish and M. Liebermann. Among others, they used samples with images of a person and a tree. As in the studies of American psychologists, attention was paid to the correctness of the scheme and the amount of detail.

The German psychologist W. Kern developed tests of the so-called "school maturity" using the image of a person, copying ten points located one from the other at an equal distance vertically and horizontally, and copying the written phrase. Kern's tests were improved by the Czech psychologist I. Jerazek and became widespread.

Children who are well developed, ready for school, should draw a human figure, correctly conveying the body diagram, and depict many details (eyes, ears, nose, hair, neck, fingers, clothing details); these children quite accurately copy the arrangement of dots and the configuration of letters, put a period at the end of the phrase, thus demonstrating a high ability to imitate.

Each sample is given a score from 1 to 5 points (1 - the highest score, 5 - the lowest). The level of "maturity" is set by the total (for the performance of all three tasks) number of points. The category of "mature" includes those children who received a total of no more than 5 points, "medium-mature" are children who completed tasks for 6-9 points, and "immature" - children who completed tasks for 10 or more points. The assessment is carried out according to the criteria given by the authors (Fig. 11 and 12).

Rice. 11. Kern-Erazek tests for determining "school maturity" by depicting a human figure. The numbers are scores.

First task: 1 point - the body diagram is correct and the necessary details are given - head, eyes, ears, hair, torso (with clothes), hands with five fingers, legs; 2 points - there are no separate details - hair, fingers; 3 points - no neck, ears, hair, clothes, fingers; 4 points - primitive image; 5 points - cephalopod.

Rice. 12. Kern-Erazek tests to determine "school maturity" according to the features of copying letters and rows of dots. Numbers are points.

The second task: 1 point - an exact copy of the sample, the letters correspond in size or differ from the sample by no more than twice, there is a connection between the letters, the slope to the right is not more than 30 °; 2 points - the image of the letters can be read, but there is no single direction; 3 points - at least four letters are depicted correctly; 4 points - a set of strokes; 5 points - chaotic image.

The third task: 1 point - complete similarity of the location of the points (or a slight deviation of individual points or "columns") and a change in scale of no more than two times; 2 points - the number of points corresponds to the sample, the deviation of three points in the vertical or horizontal directions is not more than half the distance between the points; 3 points - the general similarity is preserved, but the number of points does not match (the number of points should not exceed 20 or be less than 7), the pattern can be rotated by 180 °; 4 points - there is no similarity, the size and number of points do not match the sample; 5 points - chaotic image.

In the studies of the famous hygienist M. V. Antropova and her collaborators, the Kern-Erazek tests have been used for many years in combination with other tests; their great reliability has been shown.

It must be emphasized that in order to draw one or another conclusion, one should see several drawings, since the nature of visual activity changes under the influence of fatigue, one or another emotional mood of children, etc.

In conditions children's team carrying out the described tests does not present any difficulty and makes it possible to determine the level of neuropsychic development of children with a high degree of certainty.

section of the educational program

on the topic of:

"The development of coherent speech

means of visual activity

children of four years with disabilities"

Performed:

educator

Municipal budgetary preschool educational institution

compensatory type kindergarten No. 294

Kekshina Tatyana Nikolaevna

Nizhny Novgorod

Content

Introduction

Chapter I. Analysis of pedagogical literature on the development of speech in secondary children

before school age

1. 
   
2. 
   Sensorimotor aspect of drawing in children with disabilities in health
3. 
   The specificity of the development of speech of children of middle preschool age with disabilities in the process of learning to draw
4. 
   
5. 
   The influence of drawing on the emotional sphere of the child
6. 
   The development of coherence, expressiveness of speech in children of middle preschool age in the process of creating an artistic image in drawing

Chapter I Conclusions
Chapter II. Practical part

2.1. Group characteristic

2.2. Pedagogical diagnostics at the beginning school year

2.4. Pedagogical diagnostics at the end of the academic year. Conclusions.

Chapter II Conclusions

Conclusion

Bibliography

Introduction

The development of speech in preschool age, as mastery of the native language, is a multifaceted process in nature. With spontaneous development, only a few children reach a sufficiently high level, so it is necessary to conduct classes with children purposefully.

Main task speech development is to bring it up to standard. All people working with children with OHP are well aware that individual differences in the speech level of children are different. Contacting with others, the child expresses emotions in speech form, cognitive and communicative representations and reserves of preschool age in orienting speech reality are quite significant.

This process is organically connected with mental development. Simply put, the role of the intellect is important for the development of speech. The close connection between the speech and intellectual development of children in the formation of coherent speech is especially clearly seen, the main characteristics of which are coherence and integrity, the ability to think through the content and build it observing the structural parts (beginning, middle, end) connecting sentences and parts of statements.

Preschool education mother tongue provides opportunities for solving moral problems. The content of literary works, paintings teaching children to tell together, negotiate among themselves, etc. contributes to the formation of not only aesthetic knowledge of moral feelings, but also the moral behavior of children. Thus, in the process of teaching the native language, it is possible and necessary to address the issues of mental, moral and aesthetic development.

Many scientists have noted that drawings have a strong stimulating effect on the development of children's speech and mental activity. The Russian teacher K. D. Ushinsky once wrote that a picture is a powerful means of “untying” a child’s language: he asks questions about what he sees in the picture, shares his impressions.

The development of speech is the central task of the speech education of children. This is primarily due to its social significance and role in the formation of personality. It is in coherent speech that the main, communicative, function of language and speech is realized. Coherent speech is the highest form of speech-thinking activity that determines the level of speech and mental development of a child (T.V. Akhutina, L.S. Vygotsky, N.I. Zhinkin, A.A. Leontiev, S.L. Rubinshtein, F.A. . Sokhin and others). Mastering coherent oral speech is the most important condition for successful preparation for schooling.

The psychological nature of coherent speech, its mechanisms and features of development in children are revealed in the works of L.S. Vygotsky, A.A. Leontiev, S.L. Rubinstein and others. All researchers note the complex organization of coherent speech and point to the need for special speech education (A.A. Leontiev, L.S. Shcherba).

Teaching coherent speech to children in the domestic methodology has rich traditions laid down in the works of K.D. Ushinsky, L.N. Tolstoy. The basics of the methodology for the development of coherent speech of preschoolers are defined in the works of M.M. Konina, A.M. Leushina, L.A. Penevskaya, O.I. Solovieva, E.I. Tiheeva, A.P. Usovoi, E.A. Flerina and others. The problems of the content and methods of teaching monologue speech in kindergarten were fruitfully developed by A.M. Borodich, N.F. Vinogradova, L.V. Voroshnina, V.V. Armorial, E.P. Korotkova, N.A. Orlanova, E.A. Smirnova, N.G. Smolnikova, O.S. Ushakova, L.G. Shadrina and others. The features of coherent speech of children, methods of teaching different types of texts based on different sources of statements were studied. The authors define the goals and objectives of the development of coherent speech, methodological principles, create systems of teaching classes for various types of coherent statements, and consider the specific conditions for children to master coherent speech.

The traditional method takes into account the age-related characteristics of the development of children. They gradually lead to independent storytelling. At the same time, the features of the formation of any mental process are taken into account. From actions in the real plan to actions in the inner plan. We can say that the traditional methodology allows us to solve such an important task as teaching children the "technique" of storytelling, but it does not sufficiently develop the issue of activating creative imagination children. Artistic activity, in particular visual activity, helps us to activate the speech creativity of children. V.A. Sukhomlinsky argued "Children should live in a world of beauty, games, fairy tales, music, drawing, fantasy, creativity."

In the development of figurative speech in the perception of painting, E.I. Tiheeva, T.S. Komarova, E.V. Lebedeva, R.M. Chumichev and others.

Visual activity may affect language development. It is necessary to develop a methodology that allows the teacher to involve children in active, directed speech activity through the creation of an image. In this context, this problem has not been fully considered so far. In this regard, work on this problem is the most relevant in the upbringing and education of preschool children, and I set myself the following

purpose: theoretically and practically to reveal the influence of the process of visual activity on the development of speech of preschool children.

Chapter I. Analysis of psychological and pedagogical literature on the development of speech in children of middle preschool age in drawing classes

1. 
   The value of visual activity for the overall development of preschool children

Interest in the visual activity of children is due to the importance for the comprehensive development of the child's personality. One of the conditions for the comprehensive harmonious development of the personality is the implementation of the interaction of various aspects of education (moral, labor, mental, aesthetic and physical). In preschool childhood, a large place is occupied by visual activity, which is invaluable for the comprehensive development of children. Being the most interesting for them, it allows you to convey what the child feels.

Visual activity is the most important means of aesthetic education. This was emphasized by many artists, art critics, philosophers, teachers, and scientists. This was noted by the ancient Greeks, whose works of art still serve the aesthetic education of man. In Greece, it was believed that drawing is necessary for general education and upbringing.

Affirming the importance of drawing for the formation of a comprehensively developed person

Ya.A. Kolomensky proposed to introduce drawing into maternal schools as a necessary occupation. He believed that fine arts and drawing allow one to develop a sense of beauty, teach "to notice the correctness and harmony in objects", the ability to enjoy works of art and the beauty of nature.

Visual activity has not lost its wide educational value at the present time. Artists, teachers, psychologists, scientists wrote about this (A.V. Zaporozhets, E.I. Ignatiev, V.S. Kuzin, B.M. Nemensky, N.P. Sakulina, B.M. Teplov, E.A. Flerina, B. I. Yusov and others). Foreign scientists (B. Jefferson, E. Kramer, V. Lounfeld, W. Lambert (USA), K. Rowland (England) and others) also note the importance of children's fine arts in the upbringing and development of various aspects of the personality. So K. Rowland argues that visual activity contributes to the cultural development of the individual. E. Kramer emphasizes the importance of this activity for intellectual development and the formation of personality maturity. The American scientist V. Lounfeld calls fine art intellectual activity, also pointing out its important role in the emotional development of the child.

In the process of engaging in visual activity, there is a need for communication, but it differs from ordinary communication in its content, which has an artistic focus on the perception of art and creative activity (drawing, modeling, handicrafts of a child).

In the studies of domestic scientists M.I. Lisina, as well as her employees and students L.N. Galiguzova, A.G. Ruzskaya, O.E. Smirnova, R.B. Sterkina and others working in line with her concept, communication with adults and peers is considered.

The communication of preschoolers, unlike the communication of adults, most often does not act independently, but accompanies other activities (A.V. Zaporozhets, M.I. Lisina,

L.I. Bozhovich, A.A. Lyublinskaya, L.V. Artemova, V.G. Nechaeva, T.V. Antonova, R.A. Ivankov and others)

An analysis of the literature shows that the communication of preschoolers with peers, with other children and adults, is most fully studied on the material of the game, as the leading type of activity in preschool age, and, in particular, its individual types: role-playing (V.V. Sramenkova, N.M. Askarina, T.V. Antonova, F.S. Levin-Shirina, N.Ya. Mikhailenko, etc.)

Didactic (L.V. Artemova), construction (L.V. Artemova, T.S. Bloshchitsina, etc.) games with rules. N.Ya Mikhailenko, the communication of preschoolers was considered in passing in connection with the study of other problems in various types of activities: household - L.I. Bozhevich, V.G. Shchur and others; labor - R.S. Bure, B.P. Zhiznevsky, R.B. Sterkin and others; fine - N.P. Sakulina, T.S. Komarova, G.G. Grigorieva, N.G. Kirichenko, N.E. Faas and others.

At the same time, scientists are guided by its functions of regulating business cooperation and the type of communication that is carried out in order to solve certain organizational problems (planning upcoming activities, distribution of duties or roles, selection of materials for work, etc.); communication about activities (R.S. Bure, A.A. Royak), organizational and business communication (T.V. Antonova, R.N. Zhukovskaya), communicative and organizational basis of activity (B.P. Zhiznetsky).

Highlight communication, which includes content that regulates business cooperation in order to solve certain organizational problems. This approach to the content of communication is not in doubt. However, communication in the process of visual activity should not be limited only to organizational and business content.

The desire of older preschool children for mutual understanding with other people, for spiritual unity with them, makes it possible to highlight certain spiritual information that children pass on to each other and to the teacher in the process of communication. Such information includes the exchange between children of their ideas, impressions of the surrounding reality, the exchange of information about the ways of depicting objects and phenomena. Like T.S. Komarova notes that it is important for preschool children to communicate with each other and with the teacher in the process of working on the image and about its content and quality expressed in the results (drawing, modeling, application work). The involvement of children in visual activity allows the child to realize himself as a connoisseur and craftsman. So many teachers and psychologists note that in preschool age, aesthetic, moral, intellectual development the child is greatly influenced by artistic creativity (visual activity) (N.S. Bogolyubov, L.S. Vygotsky, E.I. Ignatiev, T.S. Komarova, V.S. Kuzin, V.S. Mukhina, N.P. .Sakulina, N.M. Sokolnikova, T.Ya. Shpikalova and others). Through his actions, the child is realized as a craftsman, and through communication - as a connoisseur of the designated activity, using the methods he has mastered to create an image, consciously. Children's communication activates their mental activity, which accompanies drawing, modeling, and appliqué. In the process of communicating with each other, the teacher identifies and names the characteristic properties of objects or phenomena, the word helps to understand, generalize, compare the properties of the surrounding reality. Thoughts that the processes of thinking (analysis, synthesis, comparison, generalization) are genetically related to communication have been repeatedly expressed in psychology and pedagogy (A.V. Zaporozhets, M.I. Lisina, N.P. Sakulina, T.S. Komarova and others).

The lack of communication skills affects the intellectual and moral development(the child cannot fully understand the people around him, cannot get the necessary information).

However, in pedagogical science and in practice, the issues of the formation of the need for communication in children in the process of visual activity have not yet been developed, and therefore, inherent in visual activity, the potential for the development of communication has not been realized.

Under the need for communication of children of senior preschool age in the process of visual activity, we understand the desire of children to exchange information about the designated activity; and their desire to find out the opinion of the teacher and peers about the content of the activity, its results; and, at the request of the child, to achieve commonality with other people in views, opinions, assessments when the child expresses his artistic ideas, while observing the surrounding reality and its embodiment in drawing, modeling, appliqué, as well as communicating with each other and the teacher about the finished result activities.

The communication of children with each other and with the teacher develops mental operations in children (analysis, synthesis, comparison, generalization, finding similar). Communication with partners in activities contributes to the expressiveness of children's drawings and other products of children's creativity.

Entering into communication with the people around him, the child has the opportunity to highlight the characteristic features of objects or phenomena, designating them with a word, to express through communication what he, due to his age characteristics and capabilities, and the insufficiently developed technique of visual activity, cannot display in his work; thus, children develop creativity and a desire to learn new skills that allow them to achieve the desired image.

1. 
   Development fine motor skills in drawing

Finger movements are closely related to speech function. Scientists who study the activity of the functions of the children's brain, the psyche of children, note the great stimulating value of the function of the hand. Employees of the Institute of Physiology of Children and Adolescents of the APN found that the level of development of children's speech is directly dependent on the degree of formation of fine movements of the fingers (M.M. Koltsova).

L.V. Fomina on the basis of experiments and surveys a large number children, the following pattern was revealed: if the development of finger movements corresponds to age, then speech development is within the normal range.

If the development of finger movements lags behind, then speech development is also delayed, although general motor skills may be normal and even higher than normal.

MM. Koltsova came to the conclusion that the formation of speech areas occurs under the influence of kinesthetic impulses from the hands, or rather, from the fingers.

From the studied literature, we see that in the cerebral cortex the speech area is located very close to the motor area. It is, in fact, a part of it. Scientists have proven that the training of fine (fine) motor skills of the fingers has a great influence on the development of a child's active speech. When the hand and fingers work, the corresponding center is excited in the cortex. According to the law of irradiation, the excitation passes to the neighboring center - the motor speech center (Brock's center), i.e. the child's speech is activated.

Hand function and speech develop in parallel. Naturally, this should be used in work with children: those whose speech development occurs in a timely manner, and especially those who have various speech development disorders. Improving fine motor skills is improving speech.

Drawing is one of the favorite activities of preschoolers. Children love to draw. The child feels like a real wizard, able to create his own magical world.

With a good imagination, you can invent and tell fairy tales, which can also be accompanied by illustrations drawn by children.

This direction of educational and correctional work was studied by N.S. Zhurova, E.M. Mastyukova, T.B. Filicheva, N.I. Kuzmina, M.M. Koltsov.

From all of the above, it follows that it is necessary to especially stimulate the speech development of children by training finger movements, since the formation of speech zones in the cerebral cortex is improved under the influence of kinesthetic impulses.

Any motor activity of the child improves not only the skills of this area, but also has a positive effect on all his abilities. To accelerate the development of the child's speech, it is necessary to develop the movements of the fingers.

Teacher's techniques: questions and suggestions that lead children to supplement and enrich their imagination, aimed at activating creative imagination and allowing children to achieve a more interesting and expressive image, evoke positive feelings in children and, therefore, contribute to the formation of an emotionally positive attitude to drawing.

1.5. The influence of drawing on the emotional sphere of the child

The scientific literature has accumulated a lot of research that highlights general issues affecting the emotional and artistic development of the child.

Sensory problems emotional development the child took a worthy place in psychological research: L.S. Vygotsky, A.G. Kovalev, A.N. Leontiev, P.K. Anokhin, J. Piaget, T. Ribot, J. Startre, B. M. Teplov, P.M. Yakobson; the place of emotions in the personality structure is reflected in the works of V.K. Vilyunas, G.Kh. Shingarova; The following studies are devoted to the development of emotional regulation of the child's actions: L.N. Bozhovich, A.V. Zaparozhtsa, I.S. Neimark, D.B. Elkonina; The problem of emotional development in art was studied by: A.A. Melik-Pamaev, P.V. Simonov, L.S. Vygotsky, B.M. Teplov and others.

In pedagogical theory and practice, the problem of emotional development was considered in the context of artistic and aesthetic activity: N.M. Zubareva, T.S. Komarova, L.V. Kompantseva, V.G. Kosminskaya, L.V. Panteleeva, E.A. Flerina, N.B. Khalezova, R.M. Chumicheva, G.G. Grigorieva and others; the impact of art on personality was considered by E.P. Krupnik,

L.N. Stolovich, M.E. Markov, S.Kh. Rapport, M.S. Kagan, Yu.B. Borev, A.A. Karyagin.

A number of studies indicate a significant connection between the process of development of emotions and culture; M.Mid, D.N.Ovsyannikov-Kulikovskiy, G.G.Shpet, etc.

Priority in early age aesthetic emotions appear that arise in children due to the rhythmic combination of sounds, intonations, colors, which determine the formation of socio-emotional images. This gives reason to believe that the child's emotional memory, which subsequently either contributes to the full development of the personality, makes the life situation comfortable, or a negative emotional trace makes it difficult for the child to interact with others, including art.

Considering the issue of highlighting the aesthetic in pictures. VB Kosminskaya pointed to the fact that often in preschoolers the aesthetic merges with the ethical, "beautiful" and "good" are closely related, intertwined. At the same time, a positive emotional assessment, which is caused by pictures that are accessible in terms of content, is of particular importance.

The assessment becomes an indicator of a higher level of formation of the aesthetic development of preschoolers, which is noted in the studies of N.P. Sakulina, M.V. Vovchiv-Blakitnoy.

E.A. Flerina notes that the aesthetic feelings of children are of a social nature, and primary emotional reactions form the basis of their formation.

Interesting is the statement of V.A. Ezikeyeva that vivid representations lead to vivid and strong experiences that contribute to the formation of certain relationships and moral assessments of children. Consequently, the knowledge of the values ​​of art and allows you to know the artistic signs and images of reality. This forms a higher level of intellectual activity and a view of the world around.

N.M. Zubareva suggested that when teaching a child to look at pictures, it is important to teach him to find “his own” in them, to discover the connection between the phenomenon depicted in the picture and the content of his world, to realize the similarity with life impressions. This position allows us to define the aesthetic emotions of children as a link between the world reflected in works of art and in reality.

T.S. Komarova reveals the connection between the fine arts of children and the perception of art as a way to form a sense of beauty, noting that the ability to contemplate beauty and enjoy it is important not only for the development of children's creativity, but also affects the further formation of human culture.

At the heart of the basis of personal culture are emotional experiences that determine the spiritual development of the individual. The relationship of creative manifestations and emotions of children indicates that free self-expression is determined by the emotional state of the child, based on this, it can be assumed that aesthetic emotions themselves act as one of the indicators of individual freedom.

L.V. Panteleeva emphasized that emotions contribute to the development of children's desire to know the beauty, traditions, to recreate artistic patterns in their own applied activities. That is, aesthetic emotions act as a stimulating factor in the personal development of the child and, as Starkova I.A. pointed out, the primary element of the aesthetic feelings of children.

In the works of E.V. Kvyatkovsky, aesthetic feelings act as a condition for the spiritual development of the child. The author emphasizes that the earlier the awakening of aesthetic feelings occurs, the more guarantees that aesthetic deafness will not occur in children. Familiarization of preschool children with spiritual and moral ideals. the disclosure of cultural values ​​transmitted in various forms, allow, according to E.V. Kvyatkovsky, to form a system of value attitudes and guidelines for children.

In the concept of personal-developing interaction (V.V. Petrovsky, V.K. Kalinenko, I.B. Kotova), emotional aspirations are understood as an inherently valuable form of activity and multifaceted interactions with reality in its four hypostases: “Nature”, “Culture”, "The World of Other Significant", "WORLD AND I MYSELF". When making emotional contacts with the world, the authors note. There is a feeling, revealing the significance of events, self-expression, etc. Particular attention is paid to the development of a sense of empathy as an emotional aspiration. Explaining the meaning of the emotional assimilation of the world, the authors point out that the scope of possible empathic experiences is limitless, that the sources of experiences of one's own "I" and the possibilities of its reflection in others are dynamic and diverse. However, the question remains unsolved by the authors, with the help of what signs and symbols the child understands the meaning of emotional manifestations during interactions and under what conditions the emotional aspiration of preschoolers occurs.

The program of V.G. Razhnikova "Little Emo" considers the issues of emotional and expressive development of preschool children. This program most fully reflects the view of artistic experience as a creative learning process. This program is based on: artistic experiences that arise in the simplest aesthetic activity, accessible without preparation to any normal child of 3-7 years old, play activities that use sounds, colors, poetic rhythms, as prototypes of music, painting and poetry; types of arts that are a source of artistic mood, aesthetic emotion; creative positions of the author, performer and listener.

I.V. Zhitnaya considered the relationship between emotions and art. She wrote about the need to form children's ideas that art reflects a different emotional state of people's nature.

It evokes special emotionally beautiful states, feelings or moods; joy, delight or admiration that a person expresses in words or gestures. Art expresses emotions through color, contrast, shape, rhythm, highlights, sounds, etc.

Children learn how to establish taxes between the state of nature reflected in art, the mood of a person - a sunny, warm day - a good, joyful mood; gloomy, cloudy - thoughtful, sad, sad mood; between postures, movements, location in space of the human body and a natural object; reflecting the emotional state in the works, through external signs - the posture of a person, animal, tree, etc.

Thus, the question of the relationship between emotions and art in science is covered quite widely. Many authors agree that art, artistic activity, helps the child to discover a range of emotional feelings, among which aesthetic feelings occupy an important place, and emotional feelings encourage the child to be creative, and therefore introduce him to the spiritual world of people.
1.6. The development of coherence, expressiveness of speech in children of senior preschool age in the process of creating an artistic image in drawing

Psychological and pedagogical studies have shown that older children with purposeful learning can understand fine art, its content and means of expression (L. S. Vygotsky, A. V. Zaporozhets, B. M. Teplov, P. M. Yakobson, E. A. Flerina, N. P. Sakulina, N. V. Vetlugin and others)

In studies using the example of storytelling from a picture, it is clear (F. A. Sokhina and O. S. Ushakova) how they contribute to the development of the ability to perceive works of fine art, the formation of ideas about the expressive means of painting and the artistic image in the development of coherent and figurative speech of preschoolers.

Bright visual images of paintings are emotionally perceived by children, awaken their fantasy, imagination, develop observation and interest in everything around them. Looking at the pictures, answering the teacher's questions, making up stories based on the pictures, expressing their opinion on what is depicted on them, children learn not only to understand, feel the "spirit" of art, but also to speak coherently, express their thoughts in a logical sequence, enrich their speech with expressive means (comparisons, epithets, metaphors, etc.)

The work is built in a strictly defined sequence: first, children are taught to consider paintings, understand their content, highlight the main thing, see the expressive means of creating an image, build descriptive sentences, use comparisons, epithets in speech, reason, express value judgments; at the second stage, children learn to compose coherent stories from pictures, while the teacher uses such methodological techniques as questions, exercises for the selection of figurative language means, the task is to come up with your own name for the picture and explain it, dream up and imagine what events can follow those depicted by the artist .

In the classroom, it is necessary to use musical fragments and literary works.

(or excerpts from them), in content and mood corresponding to the painting.

It is advisable to arrange children's drawings and stories from pictures in the form of albums and arrange a kind of "art salon".

In addition to classes, it is advisable to organize visits by children to art museums, exhibitions, galleries. The purpose of the excursions is to explain what a museum is and how one should behave in it, to acquaint with various genres of painting, to develop a desire for systematic “communication” with the fine arts.

And, - the last. Classes should be preceded by reading Russian folk tales and prose works, which in one way or another will accompany the process of viewing pictures and compiling coherent stories based on them.

Sections: Working with preschoolers

In shaping the personality of a child, various types of artistic and creative activities are invaluable: drawing, modeling, cutting figures out of paper and gluing them, creating various designs from natural materials etc.

Such activities give children the joy of learning, creativity. Having experienced this feeling once, the child will strive in his drawings, applications, crafts to tell about what he learned, saw, experienced.

The visual activity of the child, which he is just beginning to master, needs qualified guidance from an adult. But in order to develop in each pupil the creative abilities inherent in nature, the teacher himself must understand the fine arts, children's creativity, master the necessary methods artistic activity.

The visual activity of preschoolers as a type of artistic activity should be emotional, creative. The teacher must create all the conditions for this: he must first of all provide an emotional, figurative perception of reality, form aesthetic feelings and ideas, develop creative thinking and imagination, to teach children how to create images, the means of their expressive performance. The learning process should be aimed at the development of children's fine arts, at the creative reflection of impressions from the surrounding world, works of literature and art.

Drawing, modeling, appliqué are types of visual activity, the main purpose of which is a figurative reflection of reality. Visual activity is one of the most interesting for preschool children and a specific figurative knowledge of reality. Like any cognitive activity, it is of great importance for the mental education of children. Mastering the ability to depict is impossible without purposeful visual perception - observation. In order to draw, sculpt any object, you must first familiarize yourself with it, remember its shape, size, color, design, arrangement of parts.

For the mental development of children, it is of great importance to gradually expand the stock of knowledge based on ideas about the diversity of forms of the spatial arrangement of objects in the world around them, various sizes, and a variety of shades of colors.

When organizing perception, when organizing the perception of objects and phenomena, it is important to draw children's attention to the variability of shapes, sizes (child and adult), colors (plants at different times of the year), different spatial arrangement of objects and parts (a bird sits, flies, pecks grains, a fish swims V different directions etc.); structural details can also be arranged differently.

Being engaged in drawing, modeling, appliqué, children get acquainted with materials (paper, paints, clay, chalk, etc.), with their properties, expressive possibilities, acquire work skills. Teaching visual activity without the formation of such mental operations as analysis, comparison, synthesis, generalization. On the basis of the similarity of objects in form, there is a commonality of methods of depiction in drawing, modeling. For example, to mold a berry, nut, tumbler, apple or chicken (objects having a round shape or parts of a round shape), you need to roll out pieces of plasticine or clay in a circular motion.

The faculty of analysis develops from a more general and coarse discrimination to a more subtle one. Knowledge of objects and their properties, acquired in an effective way, is fixed in the mind.

In the classroom for visual activity, children's speech develops: the assimilation and name of shapes, colors and their shades, spatial designations contributes to the enrichment of the dictionary; statements in the process of observing objects, when examining objects, buildings, as well as when looking at illustrations, reproductions from paintings by artists, have a positive effect on expanding vocabulary and forming coherent speech.

As psychologists point out, for the implementation different types activities, mental development of children are of great importance those qualities, skills, abilities that they acquire in the process of drawing, application and design.

Visual activity is closely related to sensory education. The formation of ideas about objects requires the assimilation of knowledge about their properties and qualities, shape, color, size, position in space. Children define and name these properties, compare objects, find similarities and differences, that is, perform mental actions.

Thus, visual activity contributes to sensory education and the development of visual-figurative thinking. Children's fine art has a social orientation. The child draws, sculpts, designs not only for himself, but also for others. He wants his drawing to say something, to be recognized by him.

The social orientation of children's fine art is also manifested in the fact that in their work children convey the phenomena of social life.

The value of visual arts for moral education It also lies in the fact that in the process of these activities, moral and volitional qualities are brought up in children: the need and ability to bring what has been started to the end, to concentrate and purposefully engage, to help a friend, to overcome difficulties, etc.

Visual activity should be used to educate children in kindness, justice, to deepen those noble feelings that arise in them.

In the process of visual activity, mental and physical activity are combined. To create a drawing, modeling, appliqué, you need to make an effort, carry out labor actions, and master certain skills. The visual activity of preschoolers teaches them to overcome difficulties, to show labor efforts, to master labor skills. At first, children have an interest in the movement of a pencil or brush, in the traces they leave on paper; Gradually, new motives for creativity appear - the desire to get a result, to create a certain image.

Preschoolers acquire many practical skills that will later be needed to perform a wide variety of jobs, acquire manual skills that will allow them to feel independent.

The development of labor skills and abilities is associated with the development of such volitional qualities of a person as attention, perseverance, endurance. Children are taught the ability to work hard desired result. The participation of children in preparing for classes and cleaning jobs contributes to the formation of diligence and self-service skills.

The main significance of visual activity lies in the fact that it is a means of aesthetic education. In the process of visual activity, favorable conditions are created for the development of aesthetic perception and emotions, which gradually turn into aesthetic feelings that contribute to the formation of an aesthetic attitude to reality.

The direct aesthetic feeling that arises when perceiving a beautiful object includes various constituent elements: a sense of color, a sense of proportion, a sense of form, a sense of rhythm.

For the aesthetic education of children and for the development of their visual abilities, acquaintance with works of fine art is of great importance. The brightness, expressiveness of images in pictures, sculpture, architecture and works of applied art evoke aesthetic experiences, help to perceive the phenomena of life deeper and more fully and find figurative expressions of one's impressions in drawing, modeling, and appliqué. Gradually, children develop artistic taste.

The success of education and training largely depends on what methods and techniques the teacher uses to convey certain content to children, to form their knowledge, skills, and skills, and also to develop abilities in a particular field of activity.

Under the methods of teaching visual activity and design, they understand the system of actions of a teacher organizing practical and cognitive activity children, which is aimed at mastering the content defined by the "Program of education and training in kindergarten". Training methods are called individual details, components of the method. Traditionally, teaching methods are classified according to the source from which children receive knowledge, skills and abilities, according to the means by which this knowledge, skills and abilities are presented. Since preschool children acquire knowledge in the process of direct perception of objects and phenomena of the surrounding reality and from the teacher's messages (explanations, stories), as well as in direct practical activities (designing, modeling, drawing, etc.), methods are distinguished:

• visual;
• verbal;
• practical.

This is the traditional classification.

IN Lately a new classification of methods has been developed. The authors of the new classification are: Lerner I.Ya., Skatkin M.N. it includes the following teaching methods:

• informative-receptive;
• reproductive;
• research;
• heuristic;
• method of problematic presentation of the material.

In the information-receptive method the following methods are included:

• viewing;
• observation;
• excursion;
• teacher sample;
• teacher display.

verbal method includes:

• conversation;
• story, art history story;
• use of teacher samples;
• artistic word.

Reproductive method - This is a method aimed at consolidating the knowledge and skills of children. This is a method of exercises that bring skills to automatism. It includes:

• receiving a repeat;
• work on drafts;
• performing shaping movements with the hand.

heuristic method is aimed at the manifestation of independence in any moment of work in the classroom, i.e. The teacher asks the child to do part of the work independently.

research method aims to develop in children not only independence, but also imagination and creativity. The teacher offers to independently perform not any part, but the whole work.

Problem statement method in the opinion of didacts, it cannot be used in teaching preschoolers and junior schoolchildren: It is applicable only for high school students.

Synopsis of the complex lesson "Fairy Tale" on patriotic education on the topic:
"Our Motherland - Russia"

Lesson objectives:

• give an idea about the coat of arms, flag, anthem of Russia, about Russia as a country, about the capital of Russia - Moscow, about the sights of our country;
• to begin to educate in children respect and love for their homeland, the Russian people;
• to activate the speech and vocabulary of children;
• continue to paint with gouache;
• consolidate the results creativity.

Equipment: allowances - illustrations of the coat of arms, flag, about Moscow, the soundtrack of the anthem of the Russian Federation.

Lesson progress

The board is decorated with illustrations of the coat of arms and the flag of Russia.

Children under the soundtrack "Song of the Motherland" ("Wide is my native country"), written by Vasily Lebedev-Kumach and Isaak Dunaevsky for the film "Circus", enter the group, sit on chairs.

Educator:

Guys, what do you think this is?

Children's answers.

Educator:

Yes, this is the flag and coat of arms of our Motherland. The coat of arms is a sign, the coat of arms depicts an eagle with 2 heads and wings raised up. Such an image of an eagle means the strength and invincibility of Russia, like this eagle.

The teacher, together with the children, examines the flag of Russia.

Educator:

On our flag, guys, there are 3 stripes of equal width: 1st white stripe is the color of peace, 2nd blue stripe is the color of faith and fidelity, 3rd red stripe is the color of strength.

Fizkultminutka.

Game "Compose from parts" (Make the coat of arms and flag from parts, explain).

Listening to the anthem of the Russian Federation (All those present listen to the anthem while standing).

Educator:

What do you guys think, what song is this?

Children's answers.

Educator:

This is the anthem of Russia, they listen to it while standing!

Illustrations about Moscow and its sights are exhibited.

Educator:

Guys, tell me what is the city?

Children's answers.

Educator:

Yes, this is the city of Moscow, the main city of our country.

Reading poems about Moscow, "My Moscow" (N. Zavile).

The teacher's story about the sights of Moscow (museums, architectural monuments).

Fizkultminutka.

The game "think up a word" (Come up with an adjective about Moscow, the teacher throws the ball to the child, the child, having come up with a word, returns the ball to the teacher).

Educator:

We looked at pictures of Moscow, talked about its beautiful buildings that people have built and are building now. The Russian people are proud of their country. You, when you grow up, can also build beautiful buildings.

Educator:

And now I suggest you paint the flags in the colors of the Russian flag on sheets of paper where the outline of the Russian flag is pre-drawn.

Children paint blanks with gouache in the colors of the Russian flag, explaining and arguing their actions.

Educator:

And now, guys, let's get up and listen to the Russian anthem again.

Educator: - Thank you for your attention, our lesson is over.

The formation of a creative personality is one of the important tasks of pedagogical theory and practice in present stage. Its solution should begin already in preschool childhood. Most effective remedy for this - the visual activity of children in a preschool institution.

The formation of creative abilities in children provides, along with the acquisition of visual skills and abilities, the development of creative activity.

According to V. Stern, a child's drawing is by no means an image of a specific perceived object, but an image of what he knows about it. Children's art, according to the psychologists of the Leipzig school of complex experiences, is expressive in nature - the child depicts not what he sees, but what he feels. Therefore, the drawing of a child is subjective and often incomprehensible to an outsider.

For understanding children's drawing it is very important to explore not only the product, the result of drawing, but also the process of creating a drawing. N.M. Rybnikov noted that for a child, the product of visual activity plays a secondary role. The process of creating a drawing comes to the fore for him. Therefore, children draw with great enthusiasm. Small children depict little on paper, but at the same time they speak and gesticulate. Only towards the end of preschool age does the child begin to pay attention to drawing as a product of visual activity.

N.P. Sakkulina believes that by the age of 4-5, two types of draftsmen stand out: those who prefer to draw individual objects (they mainly develop the ability to depict) and those who are inclined to unfold the plot, narration (their image is supplemented by speech and acquires a playful character). G. Gardner calls them "communicators" and "visualizers". For the first, the process of drawing is always included in the game, dramatic action, communication; the second focus on the drawing itself, draw selflessly, not paying attention to the environment. This opposition can be traced to specific children involved in the art studio. Children who are inclined to the plot-play type of drawing are distinguished by their vivid imagination, activity of speech manifestations. Their creative expression in speech is so great that the drawing becomes only a support for the development of the story. The visual side develops worse in these children. Children focused on the image actively perceive the objects and the drawings they create, take care of their quality.

Knowing these features, we can purposefully guide the creative manifestations of children.

According to A.V. Zaporozhets, visual activity, like a game, allows you to more deeply comprehend the subjects of interest to the child. However, even more importantly, as he masters the visual activity, he creates an internal ideal plan, which is absent in early childhood. At preschool age, the internal plan of activity is not yet fully formed, it needs material supports, and drawing is one of such supports.

American authors W. Lowenfeld and W. Lombert Britten believe that artistic education has a huge impact on the development of a child. A child can find himself in drawing, and at the same time his development will be inhibited. The child may have self-identification, perhaps for the first time. At the same time, his creative work by itself may have no aesthetic value. Much more important is the change in its development. According to L.S. Vygotsky, we must consider drawing from a psychological point of view, as a kind of children's speech and a preliminary stage of written speech.

It is especially important to note the expressive function. drawing: in it the child not only expresses his attitude to reality, but also indicates what is the main thing for him and what is secondary. There are always emotional and semantic centers in the drawing, thanks to which it is possible to control the emotional and semantic perception of the child.

One of the main conditions and indicators of the child's physical and neuropsychic health is the timely and versatile mastery of a small arsenal of movements that improve the functions of the central nervous system. If we talk about plastic, we believe that it is necessary to focus on the development of hand movements in a child, namely fingers (during drawing, modeling, exercises).

In connection with the need to develop in children the ability to perform subtle manipulations, one interesting circumstance should be noted - the existence of a close relationship between the coordination of subtle, light movements and speech. Research by Professor M. Koltseva showed that children's speech activity partially develops under the influence of impulses coming from the fingers. The same is confirmed by numerous studies of other specialists: the level of development in children is always in direct proportion to the degree of development of the movements of the fingers.

In the creative activity of the child, three main stages should be distinguished.

The first is the emergence, development, awareness and design of the idea. The theme of the upcoming image can be determined by the child himself or offered to him.

Basically, children often change the idea and, as a rule, naming what they want to draw, then create something completely different. Only under the condition that classes are conducted systematically, the idea and implementation in children begin to coincide. The reason lies in the situational nature of the child's thinking: at first he wanted to draw one object, suddenly another one comes into his field of vision, which seems to him more interesting. On the other hand, when naming the object of the image, the child, having still very little experience in activity, does not always correlate what is conceived with his own visual capabilities. Therefore, taking a pencil or brush in hand and realizing his inability, he abandons the original plan. The older the children, the richer their experience in visual activity, the more stable their concept becomes.

The second stage is the process of creating an image. The topic of the task not only does not deprive the child of the opportunity to show creativity, but also directs his imagination, of course, if you do not regulate the solution. Significantly greater opportunities arise when a child creates an image according to his own plan, when only the direction of choosing a theme, the content of the image, is set.

Activities at this stage require the child to be able to master the ways of depiction, expressive means specific to drawing, modeling, and appliqué.

The third stage - the analysis of the results - is closely related to the two previous ones - this is their logical continuation and completion. Viewing and analysis of what was created by children is carried out at their maximum activity, which allows them to more fully comprehend the result of their own activities.

Visual activity is closely related to sensory education. The formation of ideas about objects requires the assimilation of knowledge about their properties and qualities, shape, color, size, position in space. With children with disabilities, we try to identify and name all these properties, compare objects, find similarities and differences, that is, we perform mental actions. As a result, visual activity contributes to sensory education and the development of visual-figurative thinking in children.

Thus, modern pedagogical and psychological research proves the need for visual arts for the mental, aesthetic development of preschool children, as well as for the development of children's creative activity. Preschoolers are able, in the process of objective sensual activity, including drawing, to highlight the essential properties of objects and phenomena, to establish connections between individual phenomena and to reflect them in a figurative form. This process is especially noticeable in various types of practical activities: generalized methods of analysis, synthesis, comparison and comparison are formed, the ability to independently find ways to solve creative problems develops, the ability to plan one's activities, and creative potential is revealed.

Hence the need to engage not only in fine arts, but also in specific types of art. artistic creativity including drawing.

I.N. Smirnova

DEVELOPMENT OF SPEECH IN PRESCHOOL CHILDREN IN THE PROCESS OF LESSONS WITH ART ACTIVITIES

Key words: thinking, idea, perception, general underdevelopment of speech, storytelling, integrated lesson.

The use of any objective activity (including visual) for the purpose of developing speech is widely used in defectology (oligophrenic pedagogy, deaf pedagogy, etc.). N.N. Traugott1 noted that children with speech disorders (motor alalika) need special classes manual labor(cutting, paperwork, etc.). In speech therapy, this issue was dealt with by Yu.F. Garkusha2, V.P. Glukhov3, N.L. Krylova4, S.A. Mironova5. To date, research continues in this area.

In the process of preschool development, great importance is attached to the formation of storytelling skills. At preschool age, two types of oral monologue speech are mastered: retelling and story (in an elementary form). One of the forms of the story, which is given great attention, is a descriptive story. The story-description has its own structure, composition, it is based on perception.

A.M. Borodich6, V.V. Gerbova7 noted that perceptual storytelling has a great influence on the development of the child, including sensory development. Only on the basis of sensations and perceptions develop such complex mental processes as thinking, imagination. Psychologists have proven that when naming perceived objects aloud, they differ, are comprehended faster,

© Smirnova I.N., 2015

are remembered more firmly. The child, naming certain properties of an object, highlights them more clearly, that is, trains his sensations and perceptions. Most often, older preschoolers use adjectives denoting color and shape to describe, sometimes there are definitions of other characteristic qualities. In some children of 6-7 years old, the use of verbs that characterize actions and express attitudes towards people noticeably increases.

G.I. Lyamina8 emphasizes that without specially organized training in the skills of compiling a descriptive story, preschoolers cannot coherently and consistently talk about an object, object or phenomenon. As a rule, the subordination of parts may be absent, the thought is interrupted by an insertion-enumeration, i.e., few qualitative characteristic features stand out.

In children without speech pathology, the development of coherent speech occurs gradually along with the development of thinking, being associated with the development of activity and communication. In contrast, in children with OHP, coherent speech is not sufficiently formed. Limited vocabulary, repeated use of the same sounding words with different meanings makes their speech poor and stereotyped. Correctly understanding the logical interconnection of events, children are limited only to listing actions.

When retelling, children with OHP make mistakes in conveying the logical sequence of events, skip individual links, “lose” characters. The story-description is not easily accessible to them, usually the story is replaced by a separate enumeration of objects in accordance with the sample given by the speech therapist. Creative storytelling for children with ONR is given with great difficulty. Children experience difficulties in determining the idea of ​​the story, in the consistent development of the chosen plot and its language implementation.

The formation of coherent speech in children with ONR is of paramount importance in the overall complex of corrective measures. The organization of teaching children with speech underdevelopment involves the formation of skills to plan their own statement, independently navigate in a speech situation and determine the content of their statement.

VC. Vorobyov9 relies on psycholinguistic ideas that coherent speech is a verbal-thinking activity and is closely related to mental skills. Like any speech activity, connected speech is a set of certain operations. And in order to master such a speech-thinking act, it is necessary to form it step by step, to specifically work out each operation included in a coherent speech.

The content of correctional and pedagogical work on teaching older preschoolers the skills and abilities of constructing stories is not sufficiently reflected in the specialized literature. There are several authors who worked in this direction, such as V.K. Vorobiova10, V.P. Glukhov11, L.N. Efimenkova12, T.A. Tkachenko13.

Currently, in the psychological and psycholinguistic literature, it is emphasized that the prerequisites for the development of speech are determined by two processes. One of these processes is the non-speech objective activity of the child himself, that is, the expansion of ties with the outside world through a concrete, sensory perception of the world.

Like any mental process, perception is considered in development. Therefore, the properties of children's perception are continuously changing in the process of growth and development of the child. A.N. Leontiev14 notes that in the period of preschool childhood, perception becomes controlled, subject to conscious goals. He points to the need to educate children in active forms of perception. To do this, it is necessary to organize both the external and mental activity of the child. Under the active form of perception is meant the process of "feeling" the object with the eyes, its examination, which ensures the completeness of perception. He must have a need for examination, he must understand why it is necessary to consider, what to notice. Perception is organically included in the process of visual activity and is carried out in a certain interaction with its components; it can be considered as a starting point for the formation of many intellectual operations. In other words, while drawing, children face special tasks. One of them is the definition of the shape of an object, since this feature is of decisive importance in recognition, analysis, and comparison. In addition to the form in the process of perception, other properties of the object are also distinguished, such as size, structure, color. They are essential to the image. As a result of perfect, all-encompassing perception, clear and complete ideas about the object are formed. The fact that perceptual images are generalized, and not just stored in memory, allows us to consider representations as related to the process of thinking. In particular, the ability of a person to generalize the essential features of a whole group of similar objects stands out clearly. Such representations are called general representations. L.S. Vygotsky15 writes that the very existence of general ideas presupposes the first step

abstract thinking. For a preschool child, thinking means understanding one's general ideas.

At present, the number of children with OHP is increasing, and the requirements of the school curriculum for the level of development of coherent monologue speech have also increased. A well-formed descriptive speech of a preschooler is the basis of successful schooling. The complexity of learning to describe is due to the fact that in order to create this type of speech, the child needs active intellectual work to identify the features, properties of an object or phenomenon, and life experience. Productive activity with paper, paints, pencils, clay, plasticine reflects and deepens children's ideas about the surrounding objects, contributes to the manifestation of mental and speech activity, enriches the sensory experience of children. This determines the connection of visual activity with the correctional education of preschoolers in the development of coherent descriptive speech. G.A. Vanyukhina16 emphasizes that individual classes should be interdependent, smoothly flowing from one to another. This will ensure the addition, clarification and consolidation of the knowledge gained. Serving life and cognitive process, speech becomes in demand and active. Against this background, it is easier to correct shortcomings and newly created speech models are introduced into conversational practice.

Data of scientific and methodological literature and practice of work in speech therapy groups show that the success of the formation of correct speech in preschoolers with OHP largely depends on how productive the process of consolidating the speech skills and abilities acquired by children in speech therapy classes will be. Classes in visual activity provide an opportunity to consolidate the skills of a descriptive story, since one of the stages of work is the examination, observation and description of an object or phenomenon that requires an image. Taking this position as a basis, an experimental study was conducted, which involved children of senior preschool age with normal speech development attending preschool educational institutions, and whose speech status, according to the PMPK, was characterized as OHP of the III level of speech development, FFN (according to the classification of R. E. Levina). In most children, speech impairment was due to erased dysarthria.

The results of the ascertaining experiment made it possible to reveal that children with general underdevelopment of speech did not develop the skills of compiling descriptive stories, there was no ability to analyze an object and reflect its main points in coherent speech and in a drawing.

characteristics (shape, color, size, etc.), therefore, correctional work should be aimed at developing such skills and abilities as highlighting essential features and main parts (details) of objects by developing visual perception and expanding sensory experience; the formation of generalized ideas about the rules for constructing a story-description, mastering the language tools necessary for compiling a descriptive story.

The development of a correctional and developmental program of the experiment (the formation of coherent speech in preschoolers with OHP in the classroom for visual activity) was based on the works of V.K. Vorobiova17, Yu.F. Garkushi18, V.P. Glukhova19, N.A. Cheveleva20, S.A. Mironova21. The program can be divided into several stages of experimental work, which were developed in line with the theory of P.Ya. Galperin about the gradual formation of mental activity. At the first stage, preparatory, attention was paid to the formation of research activities. The tasks were set: to develop in children sensory perception, the skills of elementary analysis of the perceived object and to teach to highlight the essential features of the object under consideration.

The development of the ability to independently talk about the subject involves the development of perception and sensory activity. The children learned to isolate from the material proposed by the speech therapist the signs by which the object was recognized. For example, a set of 3-4 pictures or objects is put up in front of the children and they are asked to guess what subject the story is about. After guessing the subject, the teacher encourages the research activity of the children with questions: “By what signs did you guess that it was a bunny?”, “How can you find out what color his fur coat is?” and others. The motivational activity of children was also created by a special selection of speech material, which was used as narrative and descriptive texts. Most often, adapted versions of literary works were used for this work.

To implement the tasks, a form of integrated classes was chosen, where in the first part of the lesson, tasks were solved to form the skills of compiling a descriptive story based on a sensory-graphic plan in the course of examining an object for an image. The work according to the graphic plan was organized as a consistent activity for the recognition of the subject. The children had to isolate from the text proposed by the speech therapist the signs on the basis of which the recognition of the object was carried out. These signs (color, shape, size, characteristic features of the structure, parts of the object, etc.) are symbolically depicted in the pictures, which

children have to choose from a bank of pictures. The second part of the lesson was devoted to the image of the object (drawing, modeling or application).

At the second stage, the purpose of which was to form the initial skills of self-description, the following tasks were solved: to teach to purposefully examine an object for subsequent depiction and to compose a short descriptive story about it based on a sensory-graphic plan; work out the structure of sentences and the rules for linking words in them.

At the third stage, the goal was to consolidate the acquired skills in compiling a story-description. Tasks were identified: to form in children the skill of planning a short story-description based on an independently compiled sensory-graphic program.

Comparing the data obtained in the course of the ascertaining and control experiments, it can be noted that the level of formation of the skills of compiling a descriptive story in preschoolers with level III GNR increased after the correctional work. Thanks to the restructuring of the methods of perception, not only the distinction and recognition of the characteristic features of the object and its parts, but also the graphic image, turned out to be more successful. This proves the correctness of the assumptions made about the influence of perception on the quality of descriptive stories and drawings of preschool children and that one of the reasons for the difficulties in compiling stories and depicting objects in a drawing is the lack of rational methods of visual and tactile analysis, an examination plan and generalization of the information obtained in speech. . It can be noted that preschoolers tried to translate the received sensory material into more distinct images in drawings and stories. The percentage of inaccurate and erroneous images associated with the inability to properly examine the subject of the image and highlight its essential features has significantly decreased, since the methodological work was aimed at developing perception and enriching the sensory experience of children.

Notes

Traugott N.N. To the question of the organization and methodology of speech work with motor alalias // Speech disorders in childhood. Petrozavodsk: Kar-gosizdat, 1940. S. 70-103.

Garkusha Yu.F. The system of correctional classes of a kindergarten teacher for children with speech disorders. M., 1992.

3 Deaf V.P. Formation of coherent speech of preschool children with general speech underdevelopment. M.: Arkti, 2002.

4 Krylova N.L. General and specific in the work of a speech therapist and speech therapy teacher kindergarten on the development of children's speech // Defectology. 1985. No. 2.

5 Mironova S.A. The development of speech of preschoolers in speech therapy classes. M., 1991. S. 98-118.

6 Borodin A.M. Methods for the development of children's speech. M., 1981. S. 44-85.

7 Gerbova V.V. Perceptual storytelling // preschool education. 1975. No. 9. S. 7-10.

8 Lyamina G.M. The development of speech of children of preschool and school age. M., 1982. S. 17-27.

9 Vorobyova V.K. Teaching children with severe speech disorders the initial skill of descriptive and narrative speech // Defectology. 1990. No. 4. S. 40-46.

11 Glukhov V.P. From the experience of logopedic work on the formation of coherent speech of children with OHP of preschool age in the classroom for teaching storytelling // Defectology. 1994. No. 2.

12 Efimenkova L.N. Formation of speech in preschool children: children with general underdevelopment of speech. M., 1985.

13 Tkachenko T.A. If the preschooler does not speak well. SPb., 1997; She is. Formation and development of coherent speech. Logopedic notebook. SPb., 1998.

14 Leontiev A.N. Mental development of a child in preschool age // Questions of psychology of a child of preschool age / Ed. A.N. Leontiev, A.V. Zaporozhets. M., 1995.

15 Vygotsky L.S. Selected psychological studies. M.: APN RSFSR, 1956.

16 Vanyukhina G.A. Ecologization of the logopedic process from the standpoint of the principle of natural conformity // Speech therapist. 2005. No. 2.

17 Vorobyova V.K. Methodology for the development of coherent speech. M., 2006.

18 Garkusha Yu.F. Decree. op.

19 Glukhov V.P. Formation of coherent speech ...

20 Cheveleva N.A. Correction of speech in stuttering schoolchildren. M., 1966. S. 7-18.

21 Mironova S.A. Decree. op.