Literary propaedeutics in elementary grades. Materials for wide distribution
To understand how the main school programs prepare students for the senior course of literature, how the basic literary concepts are introduced and how they are explained - we turned to two curricula - this is "Promising Elementary School" and "Harmony".
Analysis of textbooks on literary reading grades 1-4. UMC "Harmony"
The first program we will analyze is the program"Harmony", the author of the textbooks is O. V. Kubasova. The whole course consists of 11 textbooks: Grade 1 - 1 textbook; Grade 2 - a textbook in two parts; Grades 3 and 4 - textbooks in four parts.
In the methodological manual, we found the basic requirements of literary propaedeutics at each stage of education. In the first grade, literary propaedeutics is aimed at:
Accumulation, generalization and systematization of genre and thematic literary impressions;
Awareness of belonging literary work to folk or author's creativity;
Revealing the commonality of single-genre folk and author's texts;
Introduction to the active dictionary of terms: character, riddle, rhyme, fable, tongue twister, proverb, fable.
We analyzed in order each item of literary propaedeutics in the first grade, proposed by O. Kubasova.
1. Accumulation, generalization and systematization of genre and thematic literary impressions.
The 1st grade textbook contains various genre works, such as: fables (p. 38-39), riddles (p. 41-43, for example: it doesn’t beat, doesn’t scold, but makes you cry), counting rhymes (p. 47-49) , tongue twisters (p. 50-52, for example: a wasp does not have a mustache, not a mustache, but antennae), fables (S. Marshak "I saw"); the following fables: L. Tolstoy "Do not die twice", L. Tolstoy "Two comrades", V. Rosin "Friends are known in trouble", S. Mikhalkov "Mistake"; folk tales: the Russian folk tale "The Cockerel and the Bean Seed", the Ingush tale "The Hare and the Turtle", the American tale "Here he is, the thief!", the Armenian tale "The Customer and the Master".
Such literary works as poems (L. Dyakonov "First Graders", A. Barto "Became literate", G. Novitskaya "Books", R. Sef, S. Pogorelovskiy "Oh, and the turmoil in Mishka's notebook", S. Marshak " Ugomon", "I saw", "Poodle", S. Mikhalkov "Laughter is with us! V. Orlov "Justified", "Vaccination", E. Moshkovskaya, V. Smith "Fun Hour", A. Usachev "If you are going on a visit", A. Shibaev. Stories: L. Panteleev "Au", V. Golyavkin "Chatterboxes", L Tolstoy "The truth is more expensive", V. Oseeva "All together", E. Permyak "And what are hands for" , Aesop, L. Yakhnin "Strong Men" Fairy tales: S. Prokofiev "The Tale of Honest Ears", M. Plyatskovsky "The Good Horse", H. K. Andersen "The Princess and the Pea", V. Orlov "Apricot in the Forest". Before starting to read the work of A. Kurlyandsky "Good night, Kesha", children are asked: "Do you think this is a fairy tale or a story? About whom? Is this work funny or sad?". Children are prepared in advance for reading the work and try to set them up for certain emotions.
There are tasks that ask children to systematize their literary knowledge. The text of the textbook contains a text about a fox, and students need to classify it into one of the items: a fairy tale, a poem, a story or a fable.
The second point is the identification of the commonality of single-genre folk and author's texts. Let's say, when parsing fables, they compare them, find a common idea, and group them according to two features: these are actions in which laziness is ridiculed and actions in which stupidity is laughed at. Children recognize such single-genre texts as: riddles, sayings, tongue twisters, counting rhymes after reading several and identify distinctive features. That is, in each text there is a certain "zest", in riddles there is a description of a certain subject, and you need to guess what is described there. There are sayings folk wisdom, for example, after the story of Aesop, students are invited to express the general meaning of the text through one of the suggested variants of proverbs: "happiness and work live side by side", "skillful hands do not know boredom", "bad for someone who does no good to anyone". In counting rhymes, already a well-known genre for children, there is a recount between objects, characters, guys, etc. The textbook offers 3 counting rhymes, you need to choose the one you like the most and count the characters from N. Nosov's fairy tale "The Adventures of Dunno and His Friends" with the chosen counting rhyme. Well, as for tongue twisters - the textbook even has a definition of this concept, there is an instruction for reading, there are 6 tongue twisters on the pages that are aimed at developing speech, reading speed and correct pronunciation paired consonants. Poems are distinguished by the presence of rhyme, rhythm when reading. The stories in the textbook are the stories of some heroes. The textbook presents the work of Yakhnin "Strongmen" and after reading, students will have to "call this work differently." Fables are stories, often with animals, that ridicule some actions and teach them to do the right thing. Every fable has a moral. And folk tales reflect the life of a certain people, their traditions and customs. The textbook presents fairy tales of various peoples: the Russian folk tale "The Cockerel and the Bean Seed", the Ingush fairy tale "The Hare and the Turtle", the American fairy tale "Here he is, the thief!", the Armenian fairy tale "The Customer and the Master".
3. Awareness of the belonging of a literary work to folk or author's creativity.
The textbook does not explain what can be considered an author's or folk work. In the questions themselves, after the works, they ask: "what would you call the story? Compare it with the name of the AUTHOR", "get acquainted with the riddles that S. Marshak came up with", which immediately indicates that these riddles belong to a certain author.
"In addition to folk tales, there are literary tales - created by writers," that's what is written after the block of folk tales. The teacher himself, not the textbook, must explain who the author is.
4. introduction to the active dictionary of terms: character, riddle, rhyme, fable, tongue twister, proverb, fable.
The proverb is introduced already on 30 pages. Students need, having identified the important, main part of the poem by E. Moshkovskaya (without a title), choose the most a suitable proverb. Further, such tasks are still found with stories and fairy tales. Tongue twisters are explained as games with words. The instruction for reading tongue twisters is as follows: first you need to read slowly, then at normal speed, the third time - as fast as you can. Tongue twisters are not given in plain text, they are printed next to the pictures so that the meaning is not lost during a quick reading (a hedgehog has a hedgehog, a hedgehog has a hedgehog, they ring bells near a stake, Sasha walked along the highway and sucked dry). A fiction is presented, like a tongue twister, a play with words, in S. Mikhalkov's poem "Laughter is with us!". Here we are talking about what real life cannot exist, it can only be imagined. For the best perception in the textbook for the work there are illustrations.
I think that every child from preschool age knows what a counting rhyme is. There are 3 counters on page 47 and children are invited to learn one of them in order to complete the calculation on the next page. On the pages of the textbook, the concepts of character and hero are introduced, but they are not disclosed in any way. On page 95, after the story "The Good Horse", there is a task where an illustration is given, and below it is signed: "before you are the characters of this fairy tale", and then, questions about the illustration. It is precisely in the middle of the book that the textbook tries to explain what this concept is, although it is introduced much earlier.
Page 41 asks: "Do you like riddles? What riddles do you know?" the author hopes that there will be no need to explain and, therefore, there is no definition of the concept here. On the other hand, various riddles are given: both folk and author's (S. Marshak).
Kubasova explains the concept of a fable, like a short instructive story. There are four fables in the textbook. It does not explain what morality is, although it is reflected here as the main idea of the text, and is expressed in the form of proverbs. Proverbs are given in questions to select the most appropriate moral of the text.
The textbook on literary reading in the second grade consists of 2 parts. What does it require from the knowledge of students, in literary propaedeutics, a methodological guide developed for this program.
By the end of Grade 2, students should:
Expand the base of species-genre and thematic literary impressions;
Be aware of the conventionality of literary creation, its difference from reality (due to attention to the personality of the author);
Be aware of the accuracy, richness, expressiveness, figurativeness of artistic speech (practical acquaintance with the means of expression: rhyme, sound writing, repetition of words, onomatopoeia, personification, epithet, comparison);
Get elementary concepts about rhyme and lyrical hero.
The first block is called "Reading - Thinking". Already on the first pages of the new part, we came across proverbs about reading, learning, which motivates children to what awaits them. There is already a reading room that encourages students to read independently, proverbs that you need to choose for Ushinsky's story "Our Fatherland". V. Orlov's poem "Native" is remembered by both adults and children, because it makes them the best impression, patriotism develops on the basis of such poems. For this poem, the author proposes to make a drawing, thus. the text will be remembered faster. Speaking of patriotism, the textbook also contains poems about the native land: G. Ladonshchikov "Starling in a foreign land" and P. Voronko "There is no better native land." An interesting task was given to them: compare how these poems are similar; pick up a proverb read it expressively, with soul. I really like tasks for analysis and comparison, when children learn to distinguish between common and different. There are personifications in the poem - these are birds that I can speak, following from this, the children understand that the poems are not real, and the speaking of birds in human language is fictitious. The rhyme is clearly visible in these poems (cold-puddles, lives-sings, relatives - for the first time, their own - behind him, crane - lands, earth - edges). In the poems of B. Zakhoder "Two and Three" and V. Levin "Miracles in a shopping bag" there are words highlighted, words with repetition, which should be highlighted in voice, these words attract great attention.
Students are offered the game "Guess the word". In S. Ivanov's stories, you need to guess the word, in fact, these are riddles in prose, here, in the text, descriptions of actions are given, and this text must be completed by meaning. A. Shibaev has a similar task "Who will find the word?", In which you need to guess the words, or finish them in a rhyme that would fit the quatrains.
On the 20th page in the frame, the task is presented: "read the proverbs and guess what the next poem will be about", a very interesting task, because. through it you need to highlight the general idea, thought. Children will have to compare proverbs, analyze, find common ground in them. I came across a task for the development of speech for the work of V. Berestov "Ice", since this word, perhaps not everyone understands Kubasova asks: "What two words does the word icy consist of."
Fairy tale B. Zakhoder "How the wolf sang songs." Task before the test: "read the title of the next work. Think about who it is, scary or not, a fairy tale or a story." This tale is very good for analysis of literary propaedeutics. There is a sound recording here (uuuuuu, beeee, meee, bitten); onomatopoeia (bite, suffocate, steal, we are poor, unfortunate, alone, alone); repeat: scratched once, scratched twice, scratched three .. which enhances the actions of the hero. Expressive means are present: personifications - living wolf, fox, sheep, epithets: red sun, gray robber, fierce death; comparison: a ray is like a fly. A fairy tale is a fictional story, that is, unreal. And the children need to explain whether this is a fairy tale or a story, based on the previous sentence. In S. Prokofieva's story "The Tale of How the Hares Frightened the Gray Wolf" there are also repetitions of words (actions of increasing strength), personifications (talking animals), comparisons (a hare like a cow, like a house, like a bus). Again, this is a fairy tale, not a story, the story is fictional and children need to explain this.
A sign appeared in the textbook in which there is an indication "how to work with footnotes" so that students can independently use them and find out the meanings of incomprehensible words. The tale of V. Zolotov is titled with the beginning of the folk proverb "For two hares". Using the example of a fairy tale, you need to give your life or fictional example in which this proverb would work, this means to compare real story with a fictional situation. E. Shim in the story "Beetle on a String" teaches respect for nature, through the act of a boy who tied a beetle. In this and the next story (E. Shim "Very Harmful Nettle"), the children are invited to read the texts by roles, with expression, with punctuation marks.
Sound recording is found in S. Prokofiev's story "When Can You Cry?" (ku-ka-re-ku), V. Sukhomlinsky "Let there be both a nightingale and a beetle" (buzzing), personifications are also found there.
The story of V. Oseeva "Who punished him?" makes students think first about the title, and after reading the last sentence: "He punished himself," answered my mother. The question goes to the whole class so that they can reflect. The teacher, at the same time, should monitor the correct expression of their thoughts by students in the process of answering questions. After the text, there is an equally difficult question - how does the author himself relate to those about whom he writes. This can be understood through expressive means or their absence. In the poem "Knights" A. Barto makes fun of her characters, and by what means she does this - you need to guess and read to the children. Here repetitions of words are used, rhyme is clearly visible and a new word appears - irony. The footnote reveals the definition of this concept, and after that, it becomes clear to the children why the poem is so named.
Kharms' poem "The Amazing Cat" is very emotional, and Kubasova wants students to share their mood, their thoughts on this matter, and even offers to draw a picture that uses the colors that convey this mood.
In the fairy tale "The Fox and the Crane", the author of the textbook wants to teach children to read expressively, to read with the right mood, emotions, to read in such a way that the character of the hero is conveyed. There are also folk tales (Indian and Russian). In the fairy tale "The Blacksmith" by Baruzdin, there are personifications, repetition of words, paronyms (blacksmith - grasshopper). In B. Zakhoder's poem "Petya dreams" there are lines in which there is only one word, it is on them that the emphasis is placed.
The second block is called "Reading correctly". There are many poems, texts, stories here (D. Bisset "The Eagle and the Sheep", stories by V. Dragunsky "The Enchanted Letter", "When I was Little", "Not a bang, not a bang", N. Nosov "Resourcefulness", D . Rodari "Machine for cooking lessons"). These are comic stories that teach you to speak correctly, to read carefully. Here, in this block, students get acquainted with the concept of rhyme ("Rhyme is the consonant ends of poetic lines"). In the task after "Not a bang, not a bang", it is proposed to compose a song about a bunny, choosing a rhyme.
Third block: Read quickly.
Well, as a rule, to read quickly - we are taught tongue twisters. At the beginning of the page, instructions are written (how to read the tongue twister correctly), as in the first grade textbook. Further, there is a tongue twister that teaches you to control your breathing; there are tongue twisters: author's (I. Maznin "There was a fox", E. Blaginina, M. Boroditskaya) and folk (again, five guys found five mushrooms near the stump). R. Sef has an endless verse, children need to read it at a fast pace. After the works of E. Meshkovskaya and Y. Ermolaev, the assignments contain texts consisting of several lines, which, in fact, are not related to the works, they are aimed at the development of speech. These texts need to be read quickly several times, each time speeding up the pace. But the works of V. Oseeva "Just an old woman" and V. Golyavkin "How I sat under my desk" should be read by roles, designating each role with the first letter of the character. After reading speed exercises, Kubasova gives the students a task: "Read the story as fast as you can. At the same time, try to understand everything." This is a text by the author V. Golyavkin, already familiar to them, called "About who Vovka studies for", about half a page and written in easy-to-understand words. The following text has neither an author nor a title. Children need to read this work, substantiate their opinion - is it a fairy tale or a story, choose the appropriate title from the three proposed and compare it according to the table of contents. In fairy tales, as usual, animals speak human language and overcome various obstacles. Such expressive means are used as: personification, comparison, epithets, sound writing (rrrazor, chchelovek), repetition of words (far, far away).
Fourth block: Read expressively.
Prior to this block, students devoted a large amount of time to correct, error-free reading: first by syllables, and then continuous reading. Moving to this block, they will already read together and with expression, with emotions. There is very good exercise to warm up the voice, to the volume. "Imagine that you are walking on the floors. Help with your hand, gradually raising your voice. AND FIRST FLOOR .. AND SECOND FLOOR .. AND THIRD FLOOR .. AND FOURTH FLOOR ... and vice versa." Next comes A. Prokofiev's poem "Like on a hill, on a mountain", in it you need to determine the mood, how the author wanted to show it and prepare for expressive reading. There is a sound "uuuh" here, and in the context you need to correctly show it with your voice. The poem by A. Fet also requires the transmission of a certain mood when reading. In the work of S. Voronin "The Brave Clown" there is a special mood, there is an experience, and courage - it's all breathtaking. Especially when the author writes "Beat! / Another blow! / More!!" - he puts each word (phrase) on a separate line, puts two exclamation marks. Although this tale is unrealistic, the children know that the soldiers are very brave and strong, and therefore the words of the clown, especially boys, will be able to read with the right expression. Uspensky's poem "Everything is in order" is proposed to be read by roles (author, mother, son) to determine the correct mood and convey it. A very interesting poem by E. Moshkovskaya "Resentment", there are two parts in one poem that need to be read with different moods. The notation of pauses (stops in sound) is introduced: // - a long pause, /// - a very long pause. On the poem "Resentment" and "The Hard Way" they arrange these pauses and, in accordance with them, re-read the text. E. Blaginina "Let's sit in silence" - this poem should be read so that mom likes it, which means with tenderness, with love and show it with a voice. In A. Barto's poem "Before going to sleep", based on the words, from pauses, repetition of words, you need to guess who this poem is dedicated to, how it should be read - quietly or loudly, quickly or slowly, convey the evening mood. "The Hare and the Bear Cub" by S. Kozlov is a very kind and bright work. There are: personifications, epithets, repetitions of words (and I .., and I ..), fictional (not real), but strong friendship between a teddy bear and a hare. The children are invited to read the text by role. In I. Pivovarova's poem "About a cricket, a mouse and a spider" a cricket sings the song "chik chok chik chok" - this is an onomatopoeia of its natural sound. Next, there are two fables by K. Ushinsky "The Goose and the Crane" and "Who is pulling his nose up", the students endure their morality, discuss what is ridiculed and read by roles. Yusupov's "Grey Wolf" uses repetitions of three lines, which divides the entire poem into 3 microthemes. There is an onomatopoeia of a goat animal: new-in-vy, in-in-wax, alive-in-howl, n-n-not, kr-r-belt, r-r-horns. B. Zakhoder "Fiskino grief" - "do you think this poem should be read with sympathy or irony?". Expressive reading is required for reading the stories "The Giant and the Mouse" (A. Freudenberg), "About Binky the Tiger Cub, whose stripes disappeared" (D. Bisset).
The following tasks are offered for the work of K. Ushinsky "The Dispute of Trees": 1) justify - this is a fairy tale or a story, 2) what do you think, who is right in the dispute; 3) play the role of a fabulous oak (read expressively).
This concludes the first part of the tutorial.
The second part begins with the title "Learning to work with the text" and the subtitle "The author and his characters". In the story of V. Golyavkin "About a funny book" there is a hero Vovka, who was surprised by something, something saddened, and students need to find the necessary passages in the text that would emphasize these states. In the poem by S. Baruzdin "Poems about a man and his deeds" there are frequent repetitions of "say a man" (the author wants to achieve something from his character). And after the questions: "And on whose behalf the poem was written? How does the author treat his character?" The same questions are asked after L. Panteleev's story "Carousel". That is, the guys learn not only to see the characters in a fairy tale / story / poem, but also the author, his ideas, his attitude towards his characters. In Panteleev's story "How the Piglet Learned to Speak" you need to find specific words that convey the author's attitude to the character. There is sound writing here (oink-oink), which helps to better represent the pig. And yet, since students know how a fairy tale differs from a story, they are invited to change something in this story so that it turns out to be a fairy tale.
F. Krivin's fairy tale "Native Box" tells about Match's journey. In the task, after the fairy tale, it is proposed to draw all the characters that Matchke met (literary impression). In the fairy tales "Native Box", "Fly" by V. Chaplin, "Two Frogs" by L. Panteleev, "Storks and Frogs" by S. Mikhalkov, "Really, we will always be?" S. Kozlov, there is a huge number of epithets, there are metaphors, comparisons and personifications, repetitions of words. In S. Kozlov's story "Free Autumn Wind" there is an onomatopoeia of echo (hey! hey-ge-gee!).
After the Russian folk tale "Hare-boast" is given whole line questions on the content (what is encouraged, what is condemned, how many parts are in this fairy tale), on the first impression (choose a picture that matches the text), on the idea of the text (what was the purpose of the fairy tale).
The next block subtitle is "Words, words, words". The first is the fairy tale by G. Tsyferov "How the chicken first composed a fairy tale." Here there is a repetition of the phrase (near the house), sound writing (p-f-f, ku-ka-re-ku). In "Scottish Song" students are asked: "What words are repeated most often in this song? What mood do they create? Read expressively, emphasizing with your voice those words that create mood." B. Shergin has a whole story "Rhymes", in which there is a definition of the concept of rhyme, there are examples of rhymes, quatrains, and in the task, after the story, you need to try to come up with rhymes for the words that are given (daughter - .., book - .. etc.). V. Dahl's story also tells about rhyme and how it can be used during the game. A. Barto wrote a whole poem "Word Game" for younger schoolchildren, where there is an emphasis on consonants, maybe for someone else, difficult letters, there is sound writing, and repetition of words, epithets, comparisons, rhyme is clearly visible here. In the poems of I. Tokmakova and V. Berestov, it is necessary, using the "onomatopoeia" technique, to understand who the texts are talking about; find out what helped to recognize these animals. But in the following poems (B. Zakhoder "Holes in the Cheese", A. Shibaev "Trouble", "Listen to the Word"), with the help of illustrations, you need to guess with what expression you need to read the poem, which lines or words to highlight with your voice. The task for comparison sounds after the fairy tale "What are the stars?" G. Tsiferova, there is in the fairy tale itself various comparisons objects with stars, and the guys after, you need to come up with their own comparisons. In the poem "Bird cherry" S. Yesenin compares the branches of bird cherry with golden curls; green, as if in silver. ("Does comparison help to better see the beauty of flowering bird cherry?"). The task of finding the personification sounds after the poem by A.K. Tolstoy about bells: "With what words does the poet revive the flowers, give them human features? Why did the author need this?" In the poem by M. Isakovsky "Wind" there are also actions that are inherent in man, younger students need to find these words, where the wind is presented as alive. We encountered the question of repeating words in V. Rakhmanov's poem "Dandelions": "Why did the author need to repeat the word "flying" twice?" There are also comparisons.
The next subtitle is "Plan and Retelling".
In the Russian folk tale "Mena" there is a whole dialogue that is repeated four times. In questions after the story "The Blizzard" by V. Sukhomlinsky, they ask what happened in the first part, what happened in the second, that is, the children need to divide the already small text into parts.
After V. Oseeva's story "Good", pictures are offered that correspond to different passages from the text, and each picture must be given a name. After, using the names of the pictures, the children make a plan and restore the story. Further in the textbook there was a fairy tale "The Traveler Frog" by V. Garshin, there are personifications (talking animals), epithets, comparisons, repetitions of words (look, look; soon, soon; it's me, it's me), onomatopoeia (quack-quack) . After S. Kozlov's fairy tale "The Black Pool", it is also proposed to retell the fairy tale using pictures (plan). Before retelling the tale, the teacher and the children analyze the text in detail, all feelings, emotions, discuss actions, repeat dialogues. After reading the fairy tale by M. Plyatskovsky "How the duckling lost its shadow" - pictures are given: one of the bottoms is superfluous and one is missing. Children need to restore the fairy tale according to the plan and correct the mistake. The text uses onomatopoeia (quack-quack-st! Ukrya-quack-li!). The fairy tale by E. Karganov "Like a chicken was looking for a voice" also contains pictures by which you can understand the content and draw up a plan. There are vivid examples of onomatopoeia: track-track (the egg cracked), pee-pee, car-r, qua-qua, me-yau, hello-r-rave, ha-ha-ha, me-e-e, sh -shsh. In the German fairy tale "The Little Mermaid" the task is more complicated, there is a gap in the plan, and you need to draw this gap yourself, restore it in memory right moment. And then - read by roles.
Next subtopic: In the world of books.
In this block, Kubasova introduces younger students to various books, authors, she talks about K.D. Ushinsky and B.A. Emelyanov. There are a whole lot of different genres here: author's fairy tales, folk tales, stories, poems. It is proposed to familiarize yourself with the covers of books, learn how to work with the table of contents. The texts themselves are also printed directly, small questions are attached to them, in fact, those that they have already learned to answer. There are even book exhibitions, on the covers of which it is proposed to find common and different things.
In the text of the textbook there is an explanation of the concept of onomatopoeia (onomatopoeia is often used by writers to describe the conversation of animals), but there is no definition of "lyrical hero".
We turn to the textbooks of grade 3, here the course already consists of 4 parts (4 textbooks). By the end of grade 3, students should be able to:
Identify such linguistic means as comparison, epithet, personification, repetition, sound writing, and determine their functions in artistic speech;
Highlight artistic features fairy tales, their structure (beginning, triple repetition, ending) and vocabulary, to distinguish a fairy tale from a story;
Use elementary concepts in speech (episode, personification, comparison);
Active accumulation of species-genre representations in epic and lyric poetry (fairy tales, stories in prose and verse, fables, songs, legends, lyrics, epic and lyric poems).
Part 1 of the textbook is presented in 6 blocks. Block 1 has the name "The work of a person feeds, but laziness spoils", this includes: stories, author's and folk tales, poems and fables. The first fairy tale by E. Karganov "Medicine without a prescription". Here, children see, already familiar to them, personifications, epithets (smart houses, a terrible disease), there is sound writing (hoo-hoo, crack, go-ku-kuda, ko-ko-of course). In the assignment for this tale, the question appears: "Read that part of the tale that can be called" The piglet learns about the friend's illness. "Determine the beginning and end," i.e. here it is necessary to define the problem of the tale, its beginnings. This question prepares children for the fact that any fairy tale is divided into parts: the beginning, the triple repetition, the ending. Here, too, there is a triple repetition, where the foal meets with the Duck, with the Hen and with Uncle Trezor, and the ending is the end of the fairy tale, where the Foal realizes that he has found his cure for boredom - this is work. In the story of K. Ushinsky "How the shirt grew in the field" there are many unfamiliar words, the meaning of which can be read on the footnotes, the children's vocabulary is replenished. Here the text itself is divided into semantic parts, again parts that express the features of the tale. In this fairy tale there are repetitions (“You have a nice Tanya, you will have a shirt!”), there are personifications, epithets. In speech, there is still no concept of an episode, as long as it is indicated by a certain part (a fragment of text). Further there are poems in this block and folk tales. Russian folk tales are presented here in prose and poetry ("Who should wash the pot", "Old woman, close the door!"). In the task for the fairy tale by E. Schwartz "The Tale of Lost Time", the concept of an episode is introduced for the first time, the task is as follows: "Find the last episode of the fairy tale." There are a whole lot of expressive means here: epithets (young old people), repetitions, here, like in any other fairy tale, there is a beginning, a triple repetition (meeting with other old schoolchildren) and an ending. In Kipling's fairy tale "Why the camel has a hump" there is a sound signature "Grrb", repetitions, personifications. Next come the tales of different peoples: African, Georgian, which are offered simply to retell. The retelling is carried out with the help of a plan, or the division of a fairy tale into the usual 3 parts (heading, triple repetition, ending). The next block "A wise man differs from a fool in that he thinks to the end." It begins with fairy tales: an Italian fairy tale in prose " New skirt", the author's fairy tale by S. Marshak "Not so" in verse with a large number of repetitions. In questions to the Russian folk tale "Seven-year-old daughter", the concept of a character is recalled. In the task after the Russian folk tale "The Sea King and Vasilisa the Wise", the question is as follows : "Find in this fairy tale the beginning (such a beginning of Russian folk tales, which is traditional, that is, found in many fairy tales). What kind of fairy tales begin with the beginning "Once upon a time ..." This is where the concept of beginnings first appears. Next, the author introduces the concept of ending in such a question: "Find the ending of this tale. Is it traditional (often repeated) in folk tales?". In the question, "What difficult tasks does the sea king give Ivan Tsarevich? Why can't the hero do them himself?" and there is that middle part, which is called - threefold repetition, it is here that the hero meets various difficulties, passes tests. The task that develops memory, teaches you to analyze, compare, was proposed after the Armenian folk tale "Golden Apple ", it was often found in the 2nd grade textbook: "Imagine that you read the royal decree. Invent a fable about the king. In order to complete this task, you need to remember what a fable is. In the next question, the author asks: “Is this a household fairy tale or a fairy tale? Why?", children intuitively explain, justify their answer. Here, propaedeutics is aimed at accumulating species-genre representations, at the ability to distinguish between types (subspecies?) of fairy tales. expressive means, such as: repetition ("Oh, somewhere now our poor children!", epithets (golden wreaths), comparisons, the concept of an episode in a question occurs after the text. This fairy tale is unreal, explicitly, here the ability to distinguish the real from the unreal, from the 2nd grade of education.
The next block is called: "To miss a lot - to lose your own." It begins with the English fairy tale "The Woman Who Lived in a Bottle", in the task after the text the author suggests recalling the fairy tale by A. S. Pushkin "The Tale of the Fisherman and the Fish" and comparing them, highlighting the general idea of fairy tales. The poem, by the already well-known author Y. Akim, is called "The Greedy Man", there are many repetitions here to enhance the impression of the character. Repetitions, sound writing (ha-ha-ha!), unfamiliar words are found in V. Zotov's fairy tale "Grandmother's robe", here the beginning, three repetitions, and ending are also very clearly visible. In the tale of D. Rodari, the concept of a character is recalled. In the next block "The secret always becomes clear" we can see the author's tales, folk tales, stories that carry such a propaedeutic orientation as: the accumulation of species and genre representations. Not found in this block of interesting tasks, questions. There are many instructive texts in which expressive means are often found, there are also footnotes to unfamiliar words.
In block 5" sad time! Eyes of charm ... "we met a large amount of literary concepts, starting with the first poem by K. Balmont "Autumn". In the question after the poem, the concept of personification is revealed (the poet speaks of nature as a living being), such a place must be found here and read out. In F. Tyutchev's poem "Leaves" there are a lot of epithets (light tribe, red summer, skinny greens). In tasks after the poem, Kubasova introduces students to the method of personification, the method of repetition, comparison, asks: "Why did the author need to use this technique?" The task after the work of K. Paustovsky "Badger Nose" invites children to independently select parts, find the differences between each part from each other, see their main idea, their little history. Further in the text of the textbook we see five poems (A. Pushkin "Autumn", M. Lermontov "Autumn", A. K. Tolstoy "***", N. Nekrasov "***", A. Maikov "Autumn") In the task after all the poems, you need to find personifications, comparisons, descriptions. Moreover, the techniques are no longer explained, children should already actively use these concepts, be able to distinguish them from each other.
Well, the last block of part 1 of the textbook is called "If you are polite ...". The story of V. Oseeva "Magic word". It offers many tasks related to the analysis, understanding of the text. Here you need to highlight the most striking episodes, expressively read them. Match the idea of the text with the given proverb. Give examples from literature when politeness helped, and rudeness prevented you from achieving something. This ends the textbook, here to brainstorm with children, summarize everything that they have gone through during this time and apply their knowledge to one of the texts.
The second part of the textbook includes 3 blocks. This block contains a huge number of folk tales from different nations. With them, in fact, the block begins.
"To each his own" (Estonian fairy tale), "Two brothers" (Latvian fairy tale), they contain a common idea that needs to be highlighted, and a single scheme, according to which children will have to come up with their own fairy tale according to the same scheme. After the Uzbek fairy tale "The Turtle and the Scorpion", the question is: "This is a fairy tale about animals (not everyday and not magical). What other fairy tales about animals do you know?" The actualization of the already accumulated species-genre representations is carried out after the fables of L. Tolstoy "The Squirrel and the Wolf" and "The Mosquito and the Lion": "Name other works (fables, fairy tales, cartoons and films), which include proverbs:" Forward someone else's misfortune is not laugh, Dove", "Do not dig a hole for another - you will fall into it yourself"".
In Krylov's fable "The Siskin and the Dove" you need to find the main idea, and read it with expression. Then there are the Indian fairy tale "Poppy", the Russian folk tale "Baba Yaga", "The Stepdaughter and Stepmother's Daughter", the Czech fairy tale "Goldilocks", the Italian fairy tale "Gifts of the Fairy of Kreken Lake", the English fairy tale "Lame Molly". All these fairy tales have their usual structure: beginning, triple repetition, ending. They are rich in expressive means, there are repetitions, sound writing. In these fairy tales, basically, they are asked to find the unusual, the magical. Or, after the fairy tale "Goldilocks", they are asked to remember fairy tales in which the heroes are given tasks that seem impossible. These fairy tales are aimed at understanding, understanding, highlighting useful information, instructive.
The second block is called "Life is given for good deeds". It begins with a poem by Yu. Moritz "Things were talking", personifications are vividly represented here (the coffee pot and the basin were admired, the bread saw said, the book said, etc.). After H.K. Andersen's fairy tale "Five from one pod", the question is asked: "What is fictional, fabulous, and what could actually happen in this fairy tale?" the real from the unreal (fabulous, fictional). In E. Permyak's fairy tale "The Ugly Christmas Tree" there is a dialogue between the Storyteller and trees (personifications), epithets (Slightly offended Aspen, narcissistic Ash, etc.). The next block "Snow flies and sparkles ...". The block begins with Sergei Yesenin's poem "Birch", which is rich in personifications and comparisons. The guys need them in the text and answer the question: "Did these techniques help make the picture of winter more visible, alive?" Why does he compare the storm with living beings?". Here the storm is compared with a beast that howls, cries like a child, is compared with a belated traveler who knocks on the window. Further on the pages of the textbook there are poems "written about a hundred years ago" and "poems, written not so long ago". After the poem by I. Surikov "Childhood", it is necessary to analyze why the poet repeats one word twice: "The winter evening lasts, lasts without end ..." But the tasks for Z. Alexandrova's poem "Snowball" are aimed at repeating the concept comparison: "What are bullfinches compared to? What are the frozen streets compared to? What is snow compared to? Why?", "What kind of "white flies" are we talking about? What do "white flies" and "snowflakes" have in common?". At the end of the textbook, there are again S. Yesenin's poems "Powder" and "Winter sings, calls out ...". Tasks involve analyzing poems and finding such literary means as sound writing, comparisons and personifications.
The third part of the textbook includes three blocks. On the first page appears the heading "Stand boldly for a good deed." And that is the name of the first block. The first work is a Russian folk tale "Ivan - a peasant son and a miracle - Yudo". In the tale, its features are clearly visible: the beginning, the threefold repetition, the ending. Tasks for the fairy tale offer to characterize the main character - Ivan with the help of text.
Further works on military-patriotic themes: B. Polevoy "The Last Day of Matvey Kuzmin", V. Vysotsky "He returned from the battle," S. Baruzdin "A Terrible Treasure." Here, children are invited to reflect on the exploits that our heroes accomplished. In the work of S. Marshak "The Story of an Unknown Hero" students need to see the repetition of lines and understand why the poet needed it.
The next block - "Who honors his parents, he never dies" begins with the stories of V. Oseeva "Cookie" and "Medicine", B Emelyanov "Mother's hands", poems by L. Yakovlev "Album of photographs" and L. Kvitko "Grandmother's hands" . A very interesting fairy tale was written by G. Fallada "A story about my mother's fairy tale." Here there are personifications (a talking mouse, a fly and an ant). The concept of a character comes to mind (here in the task you need to name all the fairy-tale characters that the girl met). In the story of V. Dragunsky "... would" the children will have to remember the literary foundations. The tasks are as follows: "What is this story or fairy tale? Explain your opinion"; "On whose behalf - the author or the character - is the story written? Why do you think so?". N. Artyukhova "A Hard Evening" and M. Zashchenko "Golden Words" are stories that tell us about family life and about the history that happened to this family. Further, folk tales reappear on the pages: the Montenegrin fairy tale "Milos finds his mother", the Adyghe fairy tale "The Bird Girl", the Spanish fairy tale "The Bird is Truth". In these fairy tales it is asked: "What was unusual in this fairy tale? What magical objects and creatures were found in fairy tales?" Where is the connection with the fictional world. Appears new genre- the legend "The multi-colored butterfly of A. Platonov. There is also a definition of the concept of a legend here, this is a poetic story about some event. This block is completed by the Russian folk tale "underground kingdoms", to which typical questions for a fairy tale are proposed: "Is it possible to say that is this a love story? Whom does he love main character? For whose sake does he go to severe trials?", "Who and how helps Ivan the Tsarevich?", "Who hinders him? How were his enemies punished?", ""Land of the Infidel" - a different, different faith - called Ivan - the prince of the underworld. How did he get there, where in this fairy tale is the border between this and the other worlds?", "What magical objects of the other world help Ivan the Tsarevich?", "Why does the hero of this fairy tale need a magical gift - a staff - a feather? Draw it the way you imagine", "Did this fairy tale use the technique of triple repetition? Give an example".
The third block is called "Spring is coming, spring is on the way!" and begins with a poem by F. Tyutchev about winter. The question after the poem sounds like this: "What words and expressions help to see Winter and Spring as if they were alive? What is the name of this poetic technique?", The guys remember personifications, give examples. In M. Prishvin's story "A Drop and a Stone" there is a repetition of the word "ringing", the younger students are asked: "Why did the writer need this?" And in the story "Three Branches of Mimosa" by V. Zheleznikov, you need to figure out on whose behalf the story is being told: on behalf of the character or on behalf of the author. After V. Berestov's story "Mother and Stepmother", children need to figure out the style of the text: "What is it - a narrative (a story about events), a description (drawing pictures with words) or reasoning? Why do you think so." Such a technique as personification is found by A. Chekhov in "Spring", in the task for this text, students will also have to figure out the styles of the first and second parts of the work. In Y. Akim's poem "April" there is a repetition of words (children need to figure out why the poet needs him here) and personifications.
The textbook ends with a poem by E. Blaginina "Bird cherry", in which there are personifications and epithets.
And the last part, the fourth, is presented in two blocks. The first block is called "Learning Country" and it begins with the fairy tales of N. Wagner "Fairy Tale" and the Brothers Grimm "Rapunzel". In fairy tales, again, they are clearly visible: the beginning, the triple repetition, the ending, the repetition of "Rapunzel, Rapunzel, wake up, Lower your braids down!". And between these tales you need a common, basic idea of the texts. Such stories and fairy tales as: "Beauty and the Beast", "Chamomile" by H. Andersen, "The Generous Tree" by Silverstein are aimed at understanding, understanding the text, vision of the idea, for the selection of any life rules. The next fairy tale is a Russian folk tale, called "Feather Finist-Clear Falcon" is quite large, capacious. Here it is asked: "What trials fell to the lot of the red maiden? What qualities helped the maiden to return Finista-clear falcon? What magic items helped the red maiden?" Here it is asked about a triple repetition, about the trials that the heroes must overcome: “How many times did the girl’s father go to the fair and how many times did the youngest daughter ask for a feather Finist-clear falcon? What else was repeated three times in this tale? What was repeated three times in the previous fairy tale? Which events that repeat three times, do you remember from other Russian folk tales? Can a triple repetition be considered a feature of Russian folk tales? ". The assignments also display an important difference between fairy tales and any other: "In this fairy tale, like in almost all other fairy tales, there are two worlds. One is ordinary, where they constantly live fairy-tale heroes. The other is magical, wonderful, where they go with some purpose. Where is the magical, other world of this fairy tale located? What is unusual in it?". Then there is another folk tale - Polish - "the stone prince and the beautiful orange." In this text there are epithets, comparisons, and sound writing ("tru-lu-lu", "phew, phew, phew ! tirin-tin-tin". Students in this text have to find a magical world, episodes in which it is spoken about and describe it.
The second block is called "Wonderful - near" and begins with R. Sef's poem "Miracle". A new concept is introduced: psychological pause- this is "eloquent", filled with meaning silence. In A. Prokofiev's poem about a birch, students need to find personifications, read them out. Kubasova in this part introduces us to the covers of the books by E. Paustovsky "Caring Flower", Viktor Astafiev "Shorthair Creak". In V. Bianchi's story "Musician" - the text must be divided into parts and given names, understanding the idea of those parts that students will highlight. "Find and read what wolf eyes are compared to. Does this comparison help to imagine round burning wolf eyes?" - is asked in the task after the Belarusian folk tale "Music-sorcerer". Here, students will have to remember the method of comparison and understand why the author used it here. Further on the pages of the textbook are an Italian folk tale and two poems that evoke positive emotions. Students are asked what miracles, ordinary or unusual, they would like to read about during the summer. This is the end of the 3rd grade.
The 4th grade course on "Literary Reading" is presented in 4 parts. By the end of grade 4, students should:
Practically master the features of lyrics, epic and drama in comparison: a fairy tale - a story, a fable - a fairy tale, a story - a story, a fairy tale - a fairy tale, a story - a poem, a play - a story, a play - a fairy tale, an epic - a fairy tale;
Be able to classify fairy tales in an elementary way;
Have ideas about various stories (about animals, about children, philosophical, humorous, historical);
Have an idea about the originality of the lyrics: landscape, humorous based on practical comparison;
Know some techniques of artistic composition (without a term) in the process of text analysis;
Make an initial idea of the most famous writers (A. Pushkin, L. Tolstoy, G. Kh. Andersen, I. Krylov, S. Marshak, K. Paustovsky, etc.) based on knowledge of their work.
In the 4th grade course, significant stories, fairy tales and fairy tales are offered for study.
1 part of the textbook includes 2 blocks. The first block is called "What a charm these fairy tales are! ..", a lot of folk tales are displayed here ("Everything is fine with us, Thank God!", "Peter I and the peasant", "Peter and Petrusha", "Vasilisa the Beautiful") and copyright. Assignment to the Russian folk tale "Maria and the Witches": "How does this tale differ from the previous ones? Can it be called magical? Why?" Here, students need to remember all the variety of fairy tales and highlight the features of a fairy tale. After the tale of Vasilisa the Beautiful, the concept of an episode is recalled (part artwork, with relative independence and completeness). On the next two pages, we saw the subtitle "Questions and tasks for Russian folk tales", here is a plan for a complete analysis of Russian folk tales (1. What human qualities are valued in Russian folk tales? 2. Tell us about the other (magic) world of Russian folk tales, where does the hero end up or go for some purpose: a) Who is the master of the alien world? (Baba Yaga, Serpent Gorynych ...) How is their power and strength manifested?; b) Who helps, serves the masters of the magical world in different fairy tales?; c) The masters of the wonderful world give those who deserve it, magical items that help achieve the goal. Remember what fairy tales these magical objects are from?; 3.Is it easy to return from the magical to the ordinary world? What happens to him on the way home, how does he get rid of danger?; 4. In what fairy tales does the hero lose his life when returning home? How (with the help of whom or what) does he come to life?; 5) Note that usually upon returning home, the field of severe trials, the life of the hero (heroine) becomes better. Give examples from different stories. Then there is a Serbian fairy tale "Why the month does not have a dress", and a reference to p. 111, where S. Marshak retold this fairy tale in his own way. Later, the children will have to compare the fairy tale in prose and in poetic form.
The author of the textbook suggests recalling last year's textbook and asks: "What fairy tales of different peoples did you remember from last year's textbook?", since fairy tales are literary and folk, the author also asks children to remember literary fairy tales.
Before "The Tale of the Dead Princess and the Seven Bogatyrs" by A. S. Pushkin, there is a question about the author: "What fairy tales of Alexander Sergeyevich Pushkin do you know? Is there a favorite among them? Explain why you like her?" Here, literary propaedeutics is aimed at compiling an initial idea of the most famous writers, and specifically A. S. Pushkin. Then there are fairy tales by A. Lindgren "Little Nils Carlson", D. Rodari "These poor ghosts", K. Dragunskaya "The cure for obedience". Before the next block "About valor, about exploits, about glory ..." there is a preface that talks about epics, their definition, their little background. The first epic in this block is "Dobrynya and the Serpent", and the second is the same epic, only in poetic form. The texts are invited to compare. In the text, children come across many unfamiliar words - figurative folk words and expressions that can be seen in the footnotes. In the epics about Ilya Muromets ("The illness and healing of Ilya Muromets", "Ilya Muromets and the Nightingale the Robber") there are exaggerations, students need to see them in the text. In the same block of questions, fourth-graders are asked: "What Russian folk tales remind you of epics? How are epics similar to fairy tales and how do they differ from them?"
The second part of the textbook consists of two blocks, includes epics and stories. Before a whole block of fables there is a preface in which the concept of a fable is repeated, and it is said that most often the characters of the fable are animals, and they are shown and condemned by example possible disadvantages people - envy, stupidity, greed, boasting ...
In fables (H. K. Andersen "This fable is composed about you", Aesop "The Crow and the Jug", "The Thief Boy and His Mother" and "The Fox and the Goat", I. Krylov "Swan, Pike and Cancer" and " Mice and a rat") one asks - what is the morality. Kubasova also asks to recall the works of these authors that we have met before, the students get a general impression of the authors, their works.
In I. Krylov's fable "Two Barrels" there are separate lines that consist of only one word, students will have to figure out why the writer needed to be separated from the general text. The fable "Valerik and the Notebook" by I. Demyanov is like a fairy tale, children need to understand "What?", remember the features of a fairy tale and a fable.
The next block "Look around" is a block of stories. There is a wide variety of stories here: about animals, about children, philosophical, humorous, historical. In the story of M. Prishvin "How I taught my dogs to eat peas", you need to figure out on whose behalf the story is being told, to find descriptions of actions. The author of the following story "A sip of milk" is M. Prishvin, the author of which is not uncommon for students, they have a certain impression of his work. In the stories about animals "In the hole" by N. Sladkov, "Hare paws" by K. Paustovsky, there are many expressive means that are already familiar to children (epithets, comparisons, sound writing), a description is also added to their knowledge. Then there are stories about children: R. Fraerman "Girl with a Stone", Y. Ermolaev "Needle and Thread", Y. Yakovlev "Striped Stick", A. Platonov "Flower on the Ground". An interesting historical story "Basket with fir cones" by K. Paustovsky about Edvard Grieg and his play appears on the pages of the textbook.
Funny, humorous stories by N. Nosov "Gardeners", "Blot", Y. Ermolaev "Hot", M. Zoshchenko "Yolka", O. Grigoriev "Two Trumpets" include such expressive means that help to understand the essence of the work. Children need to find comparisons, epithets, exaggerations; find words that convey certain feelings, emotions. The following are historical stories: S. Alekseev "Captain of the Bombardier Company" ("What fairy tales from the first part of the textbook do you remember when reading this story? How are these works similar? How are they different?"), "Rejoice in the little, then the big will come", A. Chekhov "Vanka", G. Senkevich "Yanko-musician", D. Mamin - Siberian "Spit", L. Kassil "At the blackboard", V. Lidin "Testament".
In the third part - 4 blocks. The first block - "The Golden Chariot. Myths Ancient Greece". The preface says what a myth is, how they appeared. Myths that children will get to know about the heroes of Hellas. Each story is named after the name (names) of the heroes: "Perseus", "Orpheus and Eurydice", "Daedalus and Icarus ". The tasks involve dividing the myths into parts, listing the main events. After the last myth, there is an integration with geography: "What are the real geographical names found in this myth? What does this say?"
The next block is called "In the beginning was the word ...". It presents famous biblical legends: "Seven days of creation", "God created the first man", "Life of the first people in paradise", "The first sin. The Savior's promise. Expulsion from paradise", " global flood", "Moses". What are biblical legends and how they appeared - again appears in the preface. The author's legends are also presented: S. Lagerlöf "Holy Night", "In Nazareth", A. Men "Mercy of Jesus". These legends aimed at understanding texts, acquaintance with a new genre.
The third block is called "The world is a theater, people are actors ...". In this block, the author introduces children to plays. The block begins with the question: "What fairy tales of S. Marshak do you know?. Get acquainted with one more of his works and determine how it differs from an ordinary poetic fairy tale." The first play is called "About the Goat". In the questions after it, the main features of the plays are discussed: "What do you think the plays are for? What are the characters in the play called? Name the actors."
The concept of remark is introduced (Remarque is the author's explanations to the text of the play, concerning the situation, the behavior of the actors). Next, students are invited to compare the play "Two Friends" by N. Nosov and the story "Vitya Maleev at school and at home" by the same author. There is a play - a fairy tale by S. Kozlov "The Snow Flower", it is asked: "Does it look like other fairy tales and how does it differ from them? Give examples of the author's remarks."
The fourth block is called "The World of Magical Sounds", in this block students are introduced to poetry. "Poetry is intended not for teaching or teaching, but for enjoying the consonance of the souls of the reader and the poet" - that's what Olga Kubasova says about poetry. She introduces in this block the poems of Alexander Sergeevich Pushkin: "Bird", "Nanny", " Winter road", the concept of a lyrical hero is introduced here. These poems are rich in epithets, repetitions of words. Introduces the work of M. Lermontov, these are poems: "Mountain Peaks", "Cliff", "Prayer". In the text of the textbook, children get acquainted with I. Surikov (" Spring"), K. Balmont ("Goldfish"), by the way, in accordance with the assignment: children must remember the works that talk about the goldfish, and describe it, i.e. what it is in these works. There is an acquaintance with poems A. Blok "In the Meadow" and a poem without a title, about a thunderstorm. There is sound writing, epithets, personifications, it is important for students to notice this and understand why the poet used these techniques, how they helped him describe nature. This knowledge was obtained at 3 years of study, that is, they are already familiar with the vision of expressive means.These poems refer to landscape lyrics, and then humorous poems are presented. S. Cherny in the poem "Green Poems" paid great attention to the sound "z", because this sound is in every second word, students must notice this sound and figure out why it is needed here. Comic, humorous poems include6 "Eccentrics" by Yu. Vladimirov, "Very scary tale"D. Kharms, two poems by V. Khotomskaya "Two Dwarfs", "Three Sisters" (which are very unusual, thanks to the numbers in the words themselves). In the work "Song" by E. Moshkovskaya, you need to imagine what a lyrical hero could be, find everything expressive means (techniques).The author of the textbook introduces us to a new writer - Lewis Carroll, who is the author of the fairy tales "Alice in Wonderland", "Alice Through the Looking-Glass". The work of V. Vysotsky "Carroll's Song" is tied to this. This concludes the third part of the textbook.
Next, the last fourth part of the textbook. It contains only two blocks, but these are very serious and important works that fourth-graders will have to get acquainted with. The first block is a block of cognitive literature, which is called "When, why and why?". The block begins with two mythical articles by N. Kuhn "Olympus" and "The Realm of Dark Hades". Next are articles about the homeland, one of them is the text of Y. Yakovlev "On our Motherland", and the other by M. Prishvin "My Motherland", it is asked: "Which of the two cognitive texts is more like a story? Why?", That is, students need to remember story features. There are small texts on the pages about the trees "Birch", "Oak", "Spruce", "Linden", "Maple" by I. Sokolov-Mikitov. A new concept is introduced - supporting words - these are words that carry the main meaning. This concept will continue to occur, and will be able to help students restore the text by key words, retelling it. In this part, fourth-graders can get acquainted with "works about the distant past of our Motherland", these are the works "Baptism of Rus'" and "Sergey of Radonezh" by N. Solovyov. The most important thing in this part is that children can learn new information for themselves, develop cognitive interest, and extract useful things for themselves. The discovery of new knowledge occurs in the texts of G. Gubarev "In the open space", L. Yakhnin "Metro", M. Ilyin, E. Segal "What of what", M. Ilyin "One hundred thousand why" (here it is even suggested to put an experiment) , N. Nadezhdina "Onion - from seven ailments". After this article, for the first time, a "Memo for compiling brief retelling": 1. Make a plan; 2. Based on the first paragraph of the plan and the first part of the text, highlight important thoughts (two to three sentences); 3. I will do the same for other parts; 4. Using the plan, I will briefly retell the text; 5. I will check if it is enough whether the story was short and coherent.
Cognitive fragment from the book "Why is the Earth a magnet?" meets further. This is the article "What is an electric current?" M. Konstantinovsky. An article about the invention of the first light bulb was written by V. Malov "How a Parisian waiter helped a Russian inventor", in the tasks for this article it is proposed to find answers to questions. The article by Y. Smolensky "How to learn to read poetry" was written as a response to a letter from a child. After reading the text carefully, you need to find confirmation of this fact.
An interesting article by K. Paustovsky "Pushkin's Tales" is written here, and the question after the article is: "Find and read what are the features of Pushkin's work" (literary propaedeutics manifests itself in drawing up an idea of famous writer). The next block is called "You can't see the most important thing with your eyes." In this block, there is only one story - a fairy tale. The preface says: “What is the difference between a story and a story? The main difference is that in a story or a fairy tale, one incident is in the center of attention. A story (fairytale or not) is a chain of a number of interconnected events united by one leading theme, common characters As a rule, the story has a larger volume than a story or a fairy tale" - this was an important clarification before starting to read the famous story - the fairy tale "The Little Prince".
Olga Kubasova introduces fourth-graders to Antoine de Saint-Exupery, partly to his biography and to whom he dedicated this tale. This story is 88 pages long. The tale is not written in continuous text, in the course of reading there are questions, explanations, for example: "On whose behalf is the story being told?", "What does Saint-Exupery consider important in people and what does not? Where is it written about this?", "Why is the author did he take the problem of baobabs so seriously? Doesn't he mean by baobabs something important that has to do with humans? What exactly?", "Find and read the episodes of the first and last meeting of the Little Prince and the rose", "What thought from the last chapter do you consider for yourself most important?"
There are many magical objects in folk tales: a flying carpet, walking boots, a treasurer sword, an invisibility cap, a ball acting as a navigator. Some of them would not be abandoned even by modern people. Any housewife would be delighted, for example, with a self-assembly tablecloth. No need to go to the grocery store, stand at the stove. Spread it on the table - and dinner is ready. In what fairy tales is there a self-assembled tablecloth? Which deep meaning hidden behind this symbol of abundance? Let's figure it out.
Self-assembled cloth: in which fairy tale does it occur for the first time?
Many European legends feature magical items that can quickly and tasty feed their owner. In ancient myths, this function was performed by the cornucopia belonging to the gods. It is filled with flowers and fruits. The Brothers Grimm have a story about a pot cooking sweet porridge. In which fairy tale the name "self-assembled tablecloth" is used for the first time, it is impossible to say. But she has become another symbol of wealth.
The word samobranka has two roots: "sam" and "bran". The last one can be interpreted in two ways. Perhaps it comes from the word "take". Or it is connected with the concept of "brainy tablecloth". So in Rus' they called elegant, patterned fabric, which was used to set tables for feasts. For the first time we meet the mention of it in the annals of the 12th century.
A dream of an easy life or a gift from the world of the dead?
The life of a Russian peasant was hard. Since dawn, people have been working in the fields, caring for livestock, heating stoves, and preparing food. There was no heating, running water, washing machines, vacuum cleaners and microwaves. Perhaps a self-assembly tablecloth is a dream of devices that facilitate the work of housewives? When is it not necessary to knead the dough, stand at the stove, clear the table?
Another version was put forward by the Russian folklorist V. Ya. Propp. He believes that the self-assembled tablecloth is a phenomenon from the afterlife. It is given to the hero when he experiences severe hunger, i.e., is on the verge of death. A magical object symbolizes the transition to another world, where a person is rewarded for his deeds. A good character can take a break from work and enjoy delicious food. Evil is left with nothing.
To understand which of these versions is correct, let's recall which fairy tales contain a self-assembled tablecloth. After analyzing their content, we can come to the correct conclusion.
What events take place in the fairy tale "Self-assembly tablecloth"?
This magical item can be found in Russian, German and French folklore. When trying to remember in which fairy tale the name "self-assembled tablecloth" occurs, the first thing that comes to mind is the story that is called that. It tells about three brothers who went to seek happiness and came across a mountain of precious stones. The two elders stuffed full pockets and went home. And the younger brother followed on, doing good deeds along the way and receiving for them a self-assembled tablecloth, a satchel with a company of soldiers and a magic horn.
Upon returning home, with the help of gifts, he was able to marry the daughter of the king, but she turned out to be greedy, stole a satchel with soldiers and ordered them to shackle her husband in prison. The guy was saved by the old people, whom he helped in the first part of the fairy tale "Self-Assembly Tablecloth", and a magic horn. As a result, the good hero, along with his saviors, left the dishonest people wherever they look.
Plots of other fairy tales
Let's continue to remember in which fairy tales there is a self-assembled tablecloth. In the story of two Ivanovs, a poor man whose family is starving turns to a greedy rich man for help. He gives him a handful of flour, a saucer of jelly and yesterday's cabbage soup. But on the way home, Wind, Sun and Frost destroy the precious burden. As compensation for damage, they present magical objects to the victim, including a self-assembled tablecloth. But the rich man tricks them into taking them. This continues until poor Ivan has a bag with clubs. The greedy namesake gets what he deserves.
Similar plots are found in the fairy tales "Self-collection tablecloth, a purse and two from a bag", "Cover your own table, a golden donkey and a club from a bag". They are about restoring justice. There is this magical object in the fairy tales "The King and his uncle", "About the hero Ivan Tsarevich and his wife, the Tsar Maiden".
Fear of hunger
In all fairy tales, the heroes rejoice at a successful acquisition. However, they do not care much that the self-assembled tablecloth facilitates the cooking process. More important is confidence in a well-fed future. The peasant was always afraid of hunger. Even the most hardworking and wealthy owner could be left with nothing due to enemy raids or crop failure.
A self-assembled tablecloth is a guarantee that there will be food on the table in the hungriest year. Possession of this miracle gives the hero confidence in the future.
Fair Reward
Remembering in which fairy tales there is a self-assembled tablecloth, let's pay attention to the similarity of their plots. This item goes to kind, smart, sympathetic heroes. Most often this is a gift for selfless help, although sometimes it is received with the help of cunning. A self-assembled tablecloth saves from hunger at a time when a person is in need. A good hero is generous, he invites everyone he meets to dine with him.
For this, he will be repaid. As a rule, a self-assembled tablecloth is stolen by a greedy person. But the happiness obtained by fraudulently disappears quickly. One way or another, but the greedy hero is waiting for a just retribution, and the magical item is returned to its rightful owner.
V. Ya. Propp saw behind this plot a story about the afterlife, where everyone is rewarded according to their deserts. In some Russian fairy tales, the realm of the dead is indeed present, the metaphorical personification of which is Koschey, Baba Yaga with a bone leg. But in this case, we see nothing of the kind.
Tales of the self-assembly tablecloth teach us to be honest, hardworking and sympathetic. Then, even when we are in trouble, we will receive help from the Universe itself. This will happen already in this life, where there is a place for miracles and kind people. Happiness, acquired dishonestly, is quickly destroyed. The Russian people are wise, and once again urges us not to despair, to believe in good and renounce evil.
Fairy tale as it is
Vladimir Propp singles out stable elements in fairy tales, which he calls functions.
Here I will describe each function of the fairy tale in my own words, accompanied by examples and my own comments.
I. Absence
Many fairy tales begin with the fact that one of the characters is temporarily (and sometimes forever) removed, leaving the hero to fend for himself. The parents leave, leaving the girl with her little brother (later carried away by the geese). Cinderella's mother dies, leaving her daughter to her father's new wife. Our forefather Adam, if you remember, just left, which gave the snake a chance to talk to Eve.
II. Ban
III. and its violation.
Sometimes a fairy tale describes a prosperous or stable situation, in which some kind of prohibition intervenes like a pebble in a shoe. "Do not drink from a puddle - you will become a goat", "Do not take the feather of the firebird", "Do not look into this closet" and so on. Note that these prohibitions are always, without fail, violated. And the point here is not only that otherwise there would be no fairy tale. Let's remember the most important Prohibition, which has been talked about for many centuries - not to eat an apple from the Tree of Knowledge. What would have happened to the world if this prohibition had not been violated?
IV. Antagonist probing
V. and issuance of information about the victim.
Here a new face enters the tale - the pest, or, as Propp calls him, the antagonist. His role is to disturb the peace or cause some harm. However, this does not always happen immediately, sometimes he needs to get additional information. Recall the cartoon based on the fairy tale "The Magic Ring". Princess Ulyanka, after the wedding, begins to pester and ask: "Vanya, where did you get this wealth?" And again - there would have been no fairy tale if Ulyanka the pest had not found out a commercial secret from our hero. The stepmother receives information about Snow White from the mirror - not on purpose, however, the information turned out to be key to the fairy tale. Notice how little attention is paid to this important archetype, just because it is all dialogue and not plot or image. Following on from the Tales of Tales: The Serpent enters into a conversation with Eve and discovers a weak point that can be struck.
VI. Deception
VII. and aiding
Having received necessary information, Snow White's stepmother gets into action. Having acquired a poisoned apple, she changes into a beggar woman and goes to the house of the gnomes. The wolf puts on the skin of a goat and sings with her voice. Dressing up or transformation in a fairy tale has one meaning - the pest, going to his intended victim, takes on someone else's appearance. Sometimes "alien" behavior acts as an alien appearance, usually unexpectedly affectionate, depicting love and care. So, the Serpent offered Eve an apple, motivating this by caring for people. Sometimes deceit in fairy tales looks like a deceitful agreement like "I'll help you, and you give back what you don't know at home." As prohibitions are always violated, deceitful offers are always accepted and carried out, writes Propp. Therefore, here the hero's reaction can be safely called aiding the enemy. After all, if the hero had been stronger in spirit, more attentive, trusted friends and elders more, and did not believe slander or deceit, the antagonist would have left with nothing.
These seven functions can be considered as a preparatory part of the tale, and the plot begins with the next one.
VIII. Sabotage
VIII-a. or shortage
Here we are dealing with an absolutely independent element, which can be defined by the code word "nuisance". Troubles are of various types: those caused directly by the pest (this is actually wrecking) and existing before and without the pest: for example, extreme poverty, serious illness, the absence of children, a bride, rejuvenating apples, etc. Without trouble there will be no fairy tale, the course of life will stop. And pay attention: to create a plot plot (for the sake of which everything is told in general), it is completely indifferent what exactly the trouble will be, what kind of disgusting thing the enemy did, or what exactly one of the characters will lack. The main thing is that there will be some kind of "bad", as a result of which a hero will appear who will begin to act in order to eliminate the trouble. Accordingly, we have before us the most that neither is the key archetype of all - the archetype of "trouble, without which nothing will happen."
This is the answer to the eternal question "why does the creator of the world allow trouble?". You can safely stop thinking that troubles are mistakes and failures in which someone is to blame, and compare them with the running engine of this world. Imagine that the sun would shine in the sky all the time, and there would be no night. Imagine that it was constantly raining from the sky. Imagine that you are placed in a bath with a special solution that is exactly the same as your body temperature. Nothing hurts, it doesn’t itch, it doesn’t prick, it’s not cold, it’s not hot, it’s not hard, it’s not soft, I don’t feel anything ... I don’t have a body ... I don’t have anything ... I’m gone ... help .. .
Experiments with such a bath, causing a state of sensory deprivation (absence of any sensations) were carried out repeatedly, the result is the same: a state close to insanity. Differences, differences, old and new, fatigue and rest, stopping and moving again - this is how life happens.
Here it is important to say a few words about the hero, and about how he generally happens. For reliability, I will quote the source.
"The hero of a fairy tale is a character either directly affected by the action of a pest in the plot (feeling a certain lack), or who agreed to eliminate the misfortune or shortage of another person. In the course of the action, the hero is a person who is supplied with a magical agent (a magical assistant) and uses or is served by it.
(V. Propp "Morphology of a fairy tale")
IX. The hero learns about the trouble
A separate element of the tale is how the hero becomes aware of what happened (unless it happened to him, of course, or before his eyes). Usually someone brings a cry from the king about the kidnapped princess, or a golden hair accidentally found kindles an insatiable passion for the beauty who dropped it, or a family member tells about what happened in the absence of the hero. Here, again, it does not matter how the message arrived, the main thing is why it is needed - to ensure that the hero is sent on the road. Here is an archetypal image familiar to us - a messenger, an intermediary.
X. Seeker Hero Agrees or Decides to Oppose
The hero-seeker, that is, the one who will get something or save something, usually receives a task, order or request. Sometimes such a hero leaves the house of his own free will - to take a walk, see the world, but in fact "on business" - to fight and search. Only the hero-seeker performs another element of the tale, intended only for him - consent or a conscious volitional decision to go and do something.
Another kind of heroes Propp calls the victims of the heroes. These are those who were kidnapped, expelled, bewitched, replaced or secretly released doomed to death (for example, the same Snow White). Such a hero leaves home without any purpose and not of his own free will, they did not give any consent to this. However, in any case, the same thing happens to him as to the hero-seeker: he leaves home, and he will have to go all the way to the end.
XI. The hero leaves home
“Kolobok jumped from the window and rolled along the path”, “Suddenly Alice found herself on the mantelpiece and passed through the mirror”, “And He drove out the man” (Genesis 3:24) and so on.
Sometimes one of the characters in the tale plays the special role of the sender. This may be a king sending his sons in search of rejuvenating apples, or a fairy sending Cinderella to a ball. The sender is precisely a role, a function, and not a characteristic of a character, so almost anyone can perform it, including the hero himself: "Kolobok got bored, he decided to take a walk."
These functions: wrecking, notifying the hero, the consent of the hero and his dispatch constitute the plot of the tale. Then the course of action develops.
XII. The hero is tested to obtain a magical remedy
To complete a task, get what he wants or get rid of trouble, the hero definitely needs something special that will help him in this. To get this "special" you need to make special efforts, sometimes big, sometimes not so much, but something must be done. Release the pike back into the hole (show kindness), steal magic walking shoes from the old woman, work with Baba Yaga for three days, serve the little man-with-nail for three years, and so on. Sometimes you need to fight, defeat someone before he serves the hero or gives a valuable gift, or this value can be taken away from him. Tests can be very different, the essence is the same: as a result of correct behavior, the hero gets into the hands of a magical tool, without which he cannot complete the task.
The being from whom the magical remedy was received, whether for good or ill, is called the giver. The donor is often a completely separate character, for example, the Baba Yaga, from whom Ivan receives a magic ball or horse, a fairy who gives Cinderella a dress and a carriage. By the way, she, as we remember, takes on the role of sending the hero, in this case, to the ball. Sometimes it's just directions, as in the case of Ellie going to the Emerald City.
The being-giver archetype is quite common and beloved. Usually the Wise Old Man or the Good Fairy is placed in this role. It is assumed that help will be disinterested and given willingly, although we see from fairy tales that this is not necessarily the case.
XIII. The hero reacts to the actions of the future donor
The reaction is in most cases positive or negative, the hero either passes the test or not. He responds or does not return a greeting, performs or does not render a service, etc. The hero, who reacted negatively to the test of the donor, simply does not go further. He ends up being eaten, bewitched, or just comes home empty-handed. A hero who passes the test correctly receives a magical remedy.
XIV. The hero gets a magic tool
There are several types of...let's say, objects that can serve as magic tools. Firstly, animals (for example, a horse or a wolf), secondly, objects from which magical helpers appear (for example, a flint that summons dogs with money), thirdly, objects that have magical properties (for example, a sword treasurer), various helpers with unusual properties (for example, Eat and Opivalo), as well as qualities (for example, strength, the ability to turn into an animal, etc.).
If a magical tool is an object or quality, the hero will use it, and if it is a living being - we will call it a magical assistant, then it will obey the orders of the hero and provide him with all kinds of help. In the case of a magical assistant, it often seems that the hero loses all significance: the assistant does everything for him or dictates literally every step. For example, the Little Humpbacked Horse or the wolf from the tale of rejuvenating apples. However, the reality of the tale is that without a hero formulating the intention and the situation, no magical power will work. By itself, no magical assistant can save the princess, get half the kingdom, revive the dead or heal the sick, he definitely needs to do this for someone. This someone is the hero of the story. However, the magic tool itself is completely useless until someone uses it.
Note that the archetype of prohibition-violation is repeated here too: the magical assistant often warns the hero not to do this or that, and the hero regularly violates these prohibitions.
XV. Hero's Path
The place where the desired target is located - stolen, growing, living, current, and so on, is almost always in the "other" realm or world. You need to get into this "other" world somehow. It is usually very far horizontally, or very deep (or high) vertically. To overcome the path, the most different methods: mobile (the hero flies through the air on a magic carpet or on the back of a bird, rides a wolf or in a carriage, etc.), motionless (climbs a ladder or climbs a mountain, descends through an underground passage), or on foot, led by a special a guide object, usually a ball, or a living being that shows the way. However, without a special guide on moving, the hero can easily get by and reach the goal on his own.
XVI. Fight with an antagonist
This is the highest point of the plot, peak and climax. The hero's fight with the enemy can take place both in the form of a real fight "in the open field", and in the form of a card game, riddles or any other competition. One thing is important here: as a result of this battle, not a magical means to achieve the goal, as described earlier, falls into the hands of the hero, but the goal itself, the object of search itself. Actually the fate of the antagonist is not too important. He can be killed, banished, maimed, or simply admit he has lost. A hero manifests himself as a hero not when he defeats the enemy, but when, as a result of defeating the enemy, he achieves his goal.
VII. The hero is being tagged
During the decisive battle, either immediately before or after it, the hero can receive a special mark. It can be a mark on the body (a wound, a burn, a kiss mark), an object (a ring that the king gives as a reward or a handkerchief with which the princess bandages the wound) or something else. In addition, an object lost by a hero or heroine (like Cinderella's shoe) can also be a mark. Attention: the mark cannot be the original property of the hero, even if everyone knows him by this property, and the acquired magical tool cannot be, even if everyone knows that the hero has it. I'll give you an example. In the fairy tale "Donkey Skin" the skin itself is acquired unique property heroines. By this skin, everyone KNOWS her, but the real mark is the ring that she loses, and by which the prince RECOGNIZES her. It is recognition that is the true goal for which a label is needed at all. This is a specific sign by which the hero can be identified in an incognito situation, which will be described later.
XVIII. Victory
Actually the victory over the antagonist, which is a natural consequence of the battle. Why is it a separate element? Because if several heroes went out to battle, for example, Ivan Tsarevich and the general, then only one will be the real winner, and the other will hide and come out only when everything is over. This fairy-tale element may turn out to be the final one, or it may contain the seeds of the continuation of the fairy tale - if a witness interested in the same result was present at the victory.
XIX. Elimination of trouble or shortage
The object of the search turns out to be in the hands of the hero in one way or another, the dead is revived, the captive is released, poverty is instantly eliminated, and so on. This is done either by the hero himself, using a magical agent, or by a magical assistant. Many fairy tales, in fact, end there.
XX. The hero returns
If the plot provides for the hero to return home, he can do this in the same way as the arrival, or maybe in a different way. The way back will always be shorter and faster than the way "there", although not necessarily easier. Sometimes returning back is an escape from pursuers.
XXI. The pursuit
It happens that a hero cannot get away "from there" with good, especially with valuable booty. Either the antagonist himself, or his relatives, or his servants go in pursuit of him. Geese-swans pursue the girl and her brother, the snake catches up with Ivan and Marya-Tsarevna. It often turns out that in order to escape from persecution, the hero needs to make more efforts than in order to get his object of search. For example, rejuvenating apples can be stolen on a dark night, but in the morning they will chase the thief, and in order to escape, you will have to sweat. That is, achieving the goal may not be enough, just as it was not enough to win. Now you need to save what you got and take it home, otherwise the fairy tale will not be able to end and you will have to start all over again.
XXII. The hero flees from persecution
The hero, fleeing, often uses all the means at his disposal, which should protect against this particular pursuer. He hides, as a girl and her brother hid from swan geese, he throws a comb, a towel, a mirror behind him (they turn into impenetrable mountains, forests, lakes), he quickly turns into different animals, jumps from tree to tree and so on.
On salvation from persecution, many fairy tales end. The hero arrives home, then, if a girl has been obtained, he marries, etc.
But this does not always happen.
Remember, during Ivan's fight with the snake, there was also a general who hid in a safe place? Or the brothers who failed the donor's test and drank the money they took from home in the tavern, or lay enchanted in the forest? Someone else's success keeps them awake. Such a character, let's call him a false hero, kills or in some other way gets rid of Ivan, steals his prey (if it is a girl, he makes him silent with threats) and goes home, impersonating himself as a hero.
The hero must now start all over again, meeting the giver, passing the test, receiving the magical remedy, looking for a way to return to his world or his realm. After that, the tale takes a new path.
XXIII. The unrecognized arrival of a hero
After such an unplanned campaign, the hero usually returns incognito. He does not go straight home, but settles into some inconspicuous position, often taking on an unpleasant or too simple appearance at the same time.
XXIV. False Hero's Unfounded Claims
At this time, the false hero makes unreasonable claims to victory and booty: the princess, apples, and so on, as well as the due reward.
XXV. Difficult task
XXVI. and decision
Often the hero needs to take part in a difficult test and endure it. Such tasks can be of any degree of diversity. Often they are necessary precisely in order to prove their right to win. For example, only the slayer of the serpent can lift the cut-down snake heads.
XXVII. Hero Recognition
Remember the mark or item that the hero once received? By it he will be recognized and recognized.
XXVIII. Exposing a false hero or antagonist
Sometimes an important witness tells how it happened. Sometimes the truth is given out by accident. One way or another, as a result, the deceit or wickedness of the negative hero becomes obvious to everyone.
XXIX. The hero is given a new look
Often, while the truth is revealed and the villain is exposed, the hero receives a new look or new property (which is comparable to the look). So, bathed in milk and three waters, Ivan turns into a handsome man, and Donkey Skin appears, throws off his camouflage outfit and appears before everyone in a beautiful dress.
XXX. Punishment of the enemy
There are many ways to finally deal with the enemy, including generous forgiveness - this time without the chance of further mischief. Naturally, if there was a fight in the fairy tale, then the pest was killed already then, or died during the chase.
XXXI. Wedding, accession, long and happy life
This is where the tale ends.
Vitya looked at the houses flickering outside the car window and did not notice them. His thoughts were far away. He was interested in the question why adults often do not listen to children. What needs to happen for mom and dad to agree with his choice? For example, today Vitya, with his parents and sister Lena, went to visit his father's friends at the dacha. Vitya really wanted the whole family to go to the amusement park. They had not been there for a long time, but the parents had already chosen kebabs several times in a row, He was so immersed in his thoughts that he missed the beginning of the conversation between mom and dad.
- Soon there will be a turn, - dad said, - and there it won't be long.
The car turned and seemed to plunge into twilight. The sky was covered with heavy gray clouds, ready to break at any moment.
- It's definitely going to rain. Look how dark the sky is, my mother said.
Thunder rumbled high up in response, followed by lightning. The downpour fell like a heavy curtain. Heavy drops clattered against the windshield. The sky cleared up almost immediately. Five minutes later, everything was over and the sun came out.
“Something I don’t recognize the way,” dad said, puzzled. - There should be a village with new houses, but in reality something strange. Does it look like a cottage village?
Vitya has long stuck to the window ..
Lena, look! he called his sister.
There was something to see. The houses, as if at an exhibition, showed patterns of bright colors on the facades: blue, yellow, bright green, azure, purple. Often there were drawings of animals or landscapes. Sometimes people showed up near the houses. They were dressed very unusually, just as brightly, even colorfully.
“They are probably filming a fairy tale here,” Lena suggested. - Everything is too ... cartoonish, fabulous.
- And what? It's possible. Some reasonable explanation. It turns out that we did not turn there? Mom asked dad.
“I was driving on the navigator,” dad said, glancing at the phone. The screen obediently showed a map of the area before the turn. When trying to ask for directions again, a red line appeared with the excuse “Failed to get directions”.
- No. Still, we are not going there, - dad turned around decisively. For ten minutes they drove in silence. There was no turning point that changed everything.
- There is no connection, the Internet does not work! - Lena said offendedly, trying to upload photos of houses to Instagram. - And in general, I got sick. I need to go out!
“Come on, let’s stop and ask for directions,” mom suggested to dad.
– Look! House with skyscrapers! - Vitya interrupted everyone.
The house really stood out. Unlike others, it remained white, but instead of bright patterns, animals and landscapes, the Eiffel Tower, skyscrapers and a rocket were painted on it. It looked alien and out of place among the identical houses with all the variety. Dad slowed down. Opening the doors, the children practically flew out of the car. It became clear that something unusual was going on.
They didn't have to ring or knock on the door. She opened herself. A short man came out of the house. His clothes were not bright, but he himself almost jumped for joy.
– How glad I am to see people from our world! I knew my drawings would work! Did you stop because of them? I've been waiting so long!
It seemed impossible to stop him. Mom and dad politely tried to insert a word, Vitya interrupted impatiently:
- What kind of place is it ? Why were you waiting for us? How to get out of here?
The man stopped.
- Sorry. You don't understand what's going on. I'll try to explain. All the people here also got lost once and could not get out. Everyone who stops looking for a way out one day finds an empty house by the road. Enters and begins to live in it, forgetting the past life.
- Well, you haven't forgotten, have you? – said Lena.
- Yes. I lost hope of finding my way home, but I remember my family and miss them very much. Every day of the year spent here, I thought about them. One day, while picking mushrooms in the forest, I met an old man. He told me that the Forest brings people here. He really did not like how the forest area was treated during the construction of the road. They broke it into two halves, cut down trees of great vitality that nourished the weak. However, this Forest is old and strong, so it was able to make a fork in the road and leads the second one here - a place that does not exist on the maps. People who get to the fork stay here. They help to heal wounds: put out fires, sort out rubble. The forest feeds them and, you know, all my neighbors are quite happy with their lives. At this turn, as a rule, there are lonely people who are tired of everything in their previous lives.
- It's not about us! Lena and Vitya were indignant in unison. Mom and Dad nodded approvingly.
- Yes, sometimes mistakes happen, both with me and, it seems, with you. That old man said that the only chance to go back is to wait for the children to appear. You need to really want to get out, forget about the obstacles and see only the goal. Adults have forgotten how to believe without doubting their own abilities. We know too much about obstacles. We are waiting for the right moment. Children, on the contrary, know how to forget that something is impossible, and are ready to act. This is important because you need to get out before sunset on the first day.
“Some kind of nonsense,” dad replied irritably. “Now we’ll get in the car and drive on. We just didn't get to the right turn. What did you see there? - Dad turned to the road and fell silent. In place of their car was a cart with a horse.
- Where? My? Car? Dad glared at the narrator.
“I only saw a cart,” he replied. “You don’t think that someone silently stole it during our conversation? You got out of the car and it took on a look suitable for the area,” dad was about to answer something, but Vitya stopped him.
- Dad, I think I know where to go. Let's try to check his words. The sun will soon begin to set. We can always come back.
“Better take me with you!” the man asked.
Vitya did not wait for an answer and, taking Lena by the hand, went to the forest.
- Do you see the path? Lena asked.
- Yes, I thought about that place in the forest where we met Leshy. Do you remember? And she appeared.
- Me too! The sister took his hand tighter. They knew from the footsteps behind them that the adults were following them. Ten minutes later the road was visible through the trees. A little more and everyone was on the track. Dad was the first to notice his car standing a hundred meters away and rushed to her.
While the adults were inspecting the car, turning on their phones, Vitya turned to Les.
Thanks for letting me out. Say hello to Leshy, please.
The branches of a nearby tree swayed.
- Vitya, Lena, get in the car!
The children ran to their parents. At the car Vitya turned around. Leshy stood under the tree.
“Lena,” Vitya called softly.
“I see,” whispered the sister.
They waved to the old man and got into the car. This time the adults were silent. They had something to think about.
The forest shook the branches of the trees, seeing off the travelers...
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The textbook ends with a poem by E. Blaginina "Bird cherry", in which there are personifications and epithets.
And the last part, the fourth, is presented in two blocks. The first block is called "Learning Country" and it begins with the fairy tales of N. Wagner "Fairy Tale" and the Brothers Grimm "Rapunzel". In fairy tales, again, they are clearly visible: the beginning, the triple repetition, the ending, the repetition of "Rapunzel, Rapunzel, wake up, Lower your braids down!". And between these tales you need a common, basic idea of the texts. Such stories and fairy tales as: "Beauty and the Beast", "Chamomile" by H. Andersen, "The Generous Tree" by Silverstein are aimed at understanding, understanding the text, vision of the idea, for the selection of any life rules. The next fairy tale is a Russian folk tale, called "Feather Finist-Clear Falcon" is quite large, capacious. Here it is asked: "What trials fell to the lot of the red maiden? What qualities helped the maiden to return Finista-clear falcon? What magic items helped the red maiden?" Here it is asked about a triple repetition, about the trials that the heroes must overcome: “How many times did the girl’s father go to the fair and how many times did the youngest daughter ask for a feather Finist-clear falcon? What else was repeated three times in this tale? What was repeated three times in the previous fairy tale? Which events that repeat three times, do you remember from other Russian folk tales? Can a triple repetition be considered a feature of Russian folk tales? ". The assignments also display an important difference between fairy tales and any other: “In this fairy tale, like in almost all other fairy tales, there are two worlds. One is ordinary, where fairy tale characters constantly live. - then the goal. Where is the magical, other world of this fairy tale? What is unusual in it? Then there is another folk tale - Polish - "the stone prince and the beautiful orange." In this text, there are epithets, comparisons, and sound writing (“try-lu-lu”, “phew, phew, phew! tirin-tin-tin”. Students in this text will have to find a magical world, episodes in which it is spoken of and describe it.
The second block is called "Wonderful - near" and begins with R. Sef's poem "Miracle". A new concept is introduced: a psychological pause is an "eloquent" silence filled with meaning. In A. Prokofiev's poem about a birch, students need to find personifications, read them out. Kubasova in this part introduces us to the covers of the books by E. Paustovsky "Caring Flower", Viktor Astafiev "Shorthair Creak". In V. Bianchi's story "Musician" - the text must be divided into parts and given names, understanding the idea of those parts that students will highlight. "Find and read what wolf eyes are compared to. Does this comparison help to imagine round burning wolf eyes?" - is asked in the task after the Belarusian folk tale "Music-sorcerer". Here, students will have to remember the method of comparison and understand why the author used it here. Further on the pages of the textbook are an Italian folk tale and two poems that evoke positive emotions. Students are asked what miracles, ordinary or unusual, they would like to read about during the summer. This is the end of the 3rd grade.
The 4th grade course on "Literary Reading" is presented in 4 parts. By the end of grade 4, students should:
Practically master the features of lyrics, epic and drama in comparison: a fairy tale - a story, a fable - a fairy tale, a story - a story, a fairy tale - a fairy tale, a story - a poem, a play - a story, a play - a fairy tale, an epic - a fairy tale;
Be able to classify fairy tales in an elementary way;
Have ideas about various stories (about animals, about children, philosophical, humorous, historical);
Have an idea about the originality of the lyrics: landscape, humorous based on practical comparison;
Know some techniques of artistic composition (without a term) in the process of text analysis;
Make an initial idea of the most famous writers (A. Pushkin, L. Tolstoy, G. Kh. Andersen, I. Krylov, S. Marshak, K. Paustovsky, etc.) based on knowledge of their work.
In the 4th grade course, significant stories, fairy tales and fairy tales are offered for study.
1 part of the textbook includes 2 blocks. The first block is called "What a charm these fairy tales are! ..", a lot of folk tales are displayed here ("Everything is fine with us, Thank God!", "Peter I and the peasant", "Peter and Petrusha", "Vasilisa the Beautiful") and copyright. Assignment to the Russian folk tale "Maria and the Witches": "How does this tale differ from the previous ones? Can it be called magical? Why?" Here, students need to remember all the variety of fairy tales and highlight the features of a fairy tale. After the fairy tale about Vasilisa the Beautiful, the concept of an episode (a part of a work of art that has relative independence and completeness) comes to mind. On the next two pages, we saw the subtitle "Questions and tasks for Russian folk tales", here is a plan for a complete analysis of Russian folk tales (1. What human qualities are valued in Russian folk tales? 2. Tell us about the other (magic) world of Russian folk tales, where does the hero end up or go for some purpose: a) Who is the master of the alien world? (Baba Yaga, Serpent Gorynych ...) How is their power and strength manifested?; b) Who helps, serves the masters of the magical world in different fairy tales?; c) The masters of the wonderful world give those who deserve it, magical items that help achieve the goal. Remember what fairy tales these magical objects are from?; 3.Is it easy to return from the magical to the ordinary world? What happens to him on the way home, how does he get rid of danger?; 4. In what fairy tales does the hero lose his life when returning home? How (with the help of whom or what) does he come to life?; 5) Note that usually upon returning home, the field of severe trials, the life of the hero (heroine) becomes better. Give examples from different stories. Then there is a Serbian fairy tale "Why the month does not have a dress", and a reference to p. 111, where S. Marshak retold this fairy tale in his own way. Later, the children will have to compare the fairy tale in prose and in poetic form.
The author of the textbook suggests recalling last year's textbook and asks: "What fairy tales of different peoples did you remember from last year's textbook?", since fairy tales are literary and folk, the author also asks children to remember literary fairy tales.
Before "The Tale of the Dead Princess and the Seven Bogatyrs" by A. S. Pushkin, there is a question about the author: "What fairy tales of Alexander Sergeyevich Pushkin do you know? Is there a favorite among them? Explain why you like her?" Here, literary propaedeutics is aimed at compiling an initial idea of the most famous writers, and specifically A. S. Pushkin. Then there are fairy tales by A. Lindgren "Little Nils Carlson", D. Rodari "These poor ghosts", K. Dragunskaya "The cure for obedience". Before the next block "About valor, about exploits, about glory ..." there is a preface that talks about epics, their definition, their little background. The first epic in this block is "Dobrynya and the Serpent", and the second is the same epic, only in poetic form. The texts are invited to compare. In the text, children come across many unfamiliar words - figurative folk words and expressions that can be seen in the footnotes. In the epics about Ilya Muromets ("The illness and healing of Ilya Muromets", "Ilya Muromets and the Nightingale the Robber") there are exaggerations, students need to see them in the text. In the same block of questions, fourth-graders are asked: "What Russian folk tales remind you of epics? How are epics similar to fairy tales and how do they differ from them?"
The second part of the textbook consists of two blocks, includes epics and stories. Before a whole block of fables, there is a preface in which the concept of a fable is repeated, and it is said that most often the characters of the fable are animals, and the example shows and condemns the possible shortcomings of people - envy, stupidity, greed, boasting ...
In fables (H. K. Andersen "This fable is composed about you", Aesop "The Crow and the Jug", "The Thief Boy and His Mother" and "The Fox and the Goat", I. Krylov "Swan, Pike and Cancer" and " Mice and a rat") one asks - what is the morality. Kubasova also asks to recall the works of these authors that we have met before, the students get a general impression of the authors, their works.
In I. Krylov's fable "Two Barrels" there are separate lines that consist of only one word, students will have to figure out why the writer needed to be separated from the general text. The fable "Valerik and the Notebook" by I. Demyanov is like a fairy tale, children need to understand "What?", remember the features of a fairy tale and a fable.
The next block "Look around" is a block of stories. There is a wide variety of stories here: about animals, about children, philosophical, humorous, historical. In the story of M. Prishvin "How I taught my dogs to eat peas", you need to figure out on whose behalf the story is being told, to find descriptions of actions. The author of the following story "A sip of milk" is M. Prishvin, the author of which is not uncommon for students, they have a certain impression of his work. In the stories about animals "In the hole" by N. Sladkov, "Hare paws" by K. Paustovsky, there are many expressive means that are already familiar to children (epithets, comparisons, sound writing), a description is also added to their knowledge. Then there are stories about children: R. Fraerman "Girl with a Stone", Y. Ermolaev "Needle and Thread", Y. Yakovlev "Striped Stick", A. Platonov "Flower on the Ground". An interesting historical story "Basket with fir cones" by K. Paustovsky about Edvard Grieg and his play appears on the pages of the textbook.
Funny, humorous stories by N. Nosov "Gardeners", "Blot", Y. Ermolaev "Hot", M. Zoshchenko "Yolka", O. Grigoriev "Two Trumpets" include such expressive means that help to understand the essence of the work. Children need to find comparisons, epithets, exaggerations; find words that convey certain feelings, emotions. The following are historical stories: S. Alekseev "Captain of the Bombardier Company" ("What fairy tales from the first part of the textbook do you remember when reading this story? How are these works similar? How are they different?"), "Rejoice in the little, then the big will come", A. Chekhov "Vanka", G. Senkevich "Yanko-musician", D. Mamin - Siberian "Spit", L. Kassil "At the blackboard", V. Lidin "Testament".
In the third part - 4 blocks. The first block is "The Golden Chariot. Myths of Ancient Greece". The preface says what a myth is, how they appeared. Myths that children will get to know about the heroes of Hellas. Each story is named after the name(s) of the characters: Perseus, Orpheus and Eurydice, Daedalus and Icarus. Tasks involve dividing the myths into parts, listing the main events. After the last myth, there is an integration with geography: "What authentic geographical names are found in this myth? What does this say?"
The next block is called "In the beginning was the word ...". It presents famous biblical legends: "Seven Days of Creation", "God created the first man", "The life of the first people in paradise", "The first sin. The Savior's promise. Expulsion from paradise", "The Flood", "Moses". What are biblical legends and how they appeared - again, it appears in the preface. The author's legends are also presented: S. Lagerlöf "Holy Night", "In Nazareth", A. Men "Mercy of Jesus". These legends are aimed at understanding the texts, getting to know the new genre.
The third block is called "The world is a theater, people are actors ...". In this block, the author introduces children to plays. The block begins with the question: "What fairy tales of S. Marshak do you know?. Get acquainted with one more of his works and determine how it differs from an ordinary poetic fairy tale." The first play is called "About the Goat". In the questions after it, the main features of the plays are discussed: "What do you think the plays are for? What are the characters in the play called? Name the actors."
The concept of remark is introduced (Remarque is the author's explanations to the text of the play, concerning the situation, the behavior of the actors). Next, students are invited to compare the play "Two Friends" by N. Nosov and the story "Vitya Maleev at school and at home" by the same author. There is a play - a fairy tale by S. Kozlov "The Snow Flower", it is asked: "Does it look like other fairy tales and how does it differ from them? Give examples of the author's remarks."
The fourth block is called "The World of Magical Sounds", in this block students are introduced to poetry. "Poetry is intended not for teaching or teaching, but for enjoying the consonance of the souls of the reader and the poet" - that's what Olga Kubasova says about poetry. In this block, she introduces the poems of Alexander Sergeevich Pushkin: "Bird", "Nanny", "Winter Road", here the concept of a lyrical hero is introduced. These poems are rich in epithets, repetitions of words. Introduces the work of M. Lermontov, these are poems: "Mountain Peaks", "Cliff", "Prayer". In the text of the textbook, children get acquainted with I. Surikov ("Spring"), K. Balmont ("Goldfish"), by the way, in accordance with the assignment: children must remember works that talk about goldfish and describe it, i.e. . what is she in these works. There is an acquaintance with A. Blok's poems "In the Meadow" and a poem without a title, about a thunderstorm. There are sound writing, epithets, personifications, it is important for students to notice this and understand why the poet used these techniques, how they helped him describe nature. This knowledge was obtained during the 3rd year of study, that is, they already know the vision of expressive means. These poems belong to landscape lyrics, and then humorous poems are presented. S. Cherny in the poem "Green Poems" paid great attention to the sound "z", because this sound is in every second word, students must notice this sound and figure out why it is needed here. Comic, humorous poems include6 "Eccentrics" by Y. Vladimirov, "A Very Scary Story" by D. Kharms, two poems by V. Khotomskaya "Two Dwarfs", "Three Sisters" (which are very unusual, thanks to the numbers in the words themselves). In the work "Song" by E. Moshkovskaya, you need to imagine what a lyrical hero could be, find all the means of expression (techniques). The author of the textbook introduces us to a new writer - Lewis Carroll, who is the author of the fairy tales "Alice in Wonderland", "Alice Through the Looking Glass". The work of V. Vysotsky "Carroll's Song" is tied to this. This concludes the third part of the tutorial.
Next, the last fourth part of the textbook. It contains only two blocks, but these are very serious and important works that fourth-graders will have to get acquainted with. The first block is a block of cognitive literature, which is called "When, why and why?". The block begins with two mythical articles by N. Kuhn "Olympus" and "The Realm of Dark Hades". Next are articles about the homeland, one of them is the text of Y. Yakovlev "On our Motherland", and the other by M. Prishvin "My Motherland", it is asked: "Which of the two cognitive texts is more like a story? Why?", That is, students need to remember story features. There are small texts on the pages about the trees "Birch", "Oak", "Spruce", "Linden", "Maple" by I. Sokolov-Mikitov. A new concept is introduced - supporting words - these are words that carry the main meaning. This concept will continue to occur, and will be able to help students restore the text by key words, retelling it. In this part, fourth-graders can get acquainted with "works about the distant past of our Motherland", these are the works "Baptism of Rus'" and "Sergey of Radonezh" by N. Solovyov. The most important thing in this part is that children can learn new information for themselves, develop cognitive interest, and extract useful things for themselves. The discovery of new knowledge occurs in the texts of G. Gubarev "In the open space", L. Yakhnin "Metro", M. Ilyin, E. Segal "What of what", M. Ilyin "One hundred thousand why" (here it is even suggested to put an experiment) , N. Nadezhdina "Onion - from seven ailments". After this article, for the first time, "Memo for compiling a brief retelling" is given: 1. Make a plan; 2. For the first paragraph of the plan and the first part of the text, highlight important thoughts (two to three sentences); 3. I will do the same in other parts; 4. Using the plan, I will briefly retell the text; 5. I will check whether the story is short and consistent enough.
Cognitive fragment from the book "Why is the Earth a magnet?" meets further. This is the article "What is an electric current?" M. Konstantinovsky. An article about the invention of the first light bulb was written by V. Malov "How a Parisian waiter helped a Russian inventor", in the tasks for this article it is proposed to find answers to questions. The article by Y. Smolensky "How to learn to read poetry" was written as a response to a letter from a child. After reading the text carefully, you need to find confirmation of this fact.
An interesting article by K. Paustovsky "Pushkin's Tales" is written here, and the question after the article is: "Find and read what are the features of Pushkin's work" (literary propaedeutics manifests itself in drawing up an idea about a famous writer). The next block is called "You can't see the most important thing with your eyes." In this block, there is only one story - a fairy tale. The preface says: “What is the difference between a story and a story? The main difference is that in a story or a fairy tale, one incident is in the center of attention. A story (fairytale or not) is a chain of a number of interconnected events united by one leading theme, common characters As a rule, the story has a larger volume than a story or a fairy tale" - this was an important clarification before starting to read the famous story - the fairy tale "The Little Prince".
Olga Kubasova introduces fourth-graders to Antoine de Saint-Exupery, partly to his biography and to whom he dedicated this tale. This story is 88 pages long. The tale is not written in continuous text, in the course of reading there are questions, explanations, for example: "On whose behalf is the story being told?", "What does Saint-Exupery consider important in people and what does not? Where is it written about this?", "Why is the author did he take the problem of baobabs so seriously? Doesn't he mean by baobabs something important that has to do with humans? What exactly?", "Find and read the episodes of the first and last meeting of the Little Prince and the rose", "What thought from the last chapter do you consider for yourself most important?"
1.3.2 Analysis of textbooks on literary reading grades 1-4. EMC "Perspective Primary School"
For the analysis of one program is not enough, and for comparison we took textbooks on "literary reading" of such an educational and methodological set as "Perspective Primary School". Seven textbooks are designed for 4 years of study: Grade 1 - one textbook - reader; Grades 2,3 and 4 are textbooks in 2 parts. The author of the textbooks is N.A. Churakov.
What does the educational and methodological program on literary criticism require? By the end of first grade, students will be familiar with:
Small folklore genres: joke, lullaby, rhyme, riddle, tongue twister, incantation. Acquaintance with the genres of boring fairy tales and cumulative fairy tales (chain fairy tales). Practical development (writing) of such genres of folklore as a riddle, a boring fairy tale.
means of artistic expression. Detection of expressiveness techniques in the process of text analysis. The primary idea of personification, the different meaning of repetitions, the expressiveness of sound writing; concept of rhyme, expressiveness of rhyme.
genres of literature. General ideas about genres: short story, poem. practical distinction. Story. The meaning of the title. Comparative analysis of two images. Expressing your own attitude towards each of the characters. Poem. The first acquaintance with the features of the poetic view of the world: the poet helps to discover the beauty and meaning in the ordinary. Introduction to rhyme, search and discovery of rhyme.
Reader begins with an introduction to cross-cutting characters. The first fairy tale that students come across is Donald Bisset's fairy tale "SHSHSHSHSH!". There is sound writing and repetition in this fairy tale. The author teaches children to work with content, find the right texts faster if you know which page they are on. The next fairy tale is also Donald Bisset's - "Bam!", after which the children are asked their attitude towards the heroes. On the same page, there is integration with geography (botany), children list familiar flowers that grow in flower beds. Acquaintance with sound writing occurs in the following poems: Andrey Usachev "Russling verses", Marina Boroditskaya "Conversation with a bee", Elena Blaginina "Over the snowdrift blue-blue". Then such genres appear as: counting rhymes, tongue twisters and riddles, the author already known to them - E. Blaginina.
Fairy tales appear after small folklore genres. D. Bisset's fairy tale "Under the Carpet" and the fairy tale of the Russian writer Nikolai Druk "Fairy Tale" are similar in the actions of their heroes. After reading fairy tales, children are asked how they are similar, they are asked their first impression. This section introduces the concept of hero and heroine. Next, N. Churakova introduces the first-graders to the new writer Boris Zakhoder and his “Chosen One”: “What is the Chosen One?” Misha asked with respect in his voice. ". A new knowledge opens up for children that B. Zakhoder is not only a poet, but also a writer, and then they begin to read his fairy tale "The Gray Star". The "grey star" in the reader is a cumulative tale in which dialogues and actions are repeated and developed as the plot develops. This tale in the textbook is presented in several parts, to which they constantly return after studying other texts. It has repetitions, personifications, sound writing ("durr-r-crayfish").
In Agniya Barto's poem "I am nobody's sister..." the children are asked: "Does Agniya Barto write about herself or about someone else?" - children learn to determine from whose perspective the story is being told. The same task is offered for Viktor Lunin's poem "When I become an adult." This tale uses such a technique of artistic speech as personification (talking animals). Understatement, the use of diminutive forms for children should be found in Sasha Cherny's poem "Galchat", in the same text there is a description of jackdaws. There is an interesting task for Sasha Cherny's poem "Song sunbeam": "Read the poem in chain by six. What parts are more interesting to read aloud?". Here, before reading, the children will have to divide the poem into semantic parts. The "sound-writing" technique is again found in S. Cherny's poem "The Song of the Fly", in which the sounds "zu zu zu", "chime - ding. "The opinion of the children about Vanya's act is asked after the story of Leo Tolstoy" Bone ". Further, almost halfway through the textbook, there is an explanation of the concept of a story:" - A good fairy tale, but very long, - Dunno said. There is a book in the library that I really like. There are stories. They are short and very colorful."
And finally, N. Churakova introduces first graders to the genre of Russian folk tales. After the fairy tales "Masha the Bear" and "Three Bears", it is explained why folk tales are easier to retell than literary ones: "All folk tales appeared a very, very long time ago, when people still knew how to write and read. They were not written down, but simply told to each other They are always easy to remember, because they contain repetitions" (a new concept is introduced - repetition). After the fairy tale "Teremok" another new concept is introduced - a boring fairy tale. The definition of the concept is not given, just the fairy tale "Teremok" is given as an example. A boring tale is a tale in which the same fragment of text is repeated: "Teremok - teremok! Who lives in the terem?"
The last poem of this textbook is S. Marshak "Baggage". There are repetitions in this poem. Most main question after the text: "Is this poem easy to remember by heart? How is it similar to the boring fairy tale "Teremok"? How is it different from them?" Here you need to find similarities between a poem and a Russian folk tale, remember what a boring tale is. This concludes the anthology for 1st grade students.
In the course of the 1st grade, the children met small literary genres; fairy tale, story, poem; means of artistic expression. There are not so many writers and poets presented in the textbook for children to have a general idea of their work.
The textbook for grade 2 is composed in 2 parts. By the end of second grade, students should be able to:
Distinguish between a fairy tale about animals, a fairy tale, an everyday fairy tale;
Distinguish between a fairy tale and a story on two grounds (or one of two grounds: construction features and the main target setting of the narrative);
Find and distinguish means of artistic expression in the author's literature (techniques: comparison, personification, hyperbole (exaggeration), sound writing, contrast; figures: repetition).
The first part of the tutorial consists of 5 blocks. The first block is called "Visiting the Scientist Cat". Cross-cutting heroes remind children that fairy tales are folk and author's. In the dialogue between Misha and the Cat, it is stipulated that they do not draw pictures for works, but illustrations. Next comes the work of A.S. Pushkin "At the Lukomorye there is a green oak ...", where it is said that this text is an introduction to the work "Ruslan and Lyudmila". There is a repetition of the word "there" in this text. For children, new knowledge about a fairy tale is revealed, there is a conversation about the ending of a fairy tale, it is also asked: “Are the storytellers part of the magical world?”, That is, it is also stipulated that there is another, fictional world in a fairy tale. The next work by A. Pushkin is "The Tale of the Fisherman and the Fish", and there are highlights in it different colors. Highlighting in blue is where the new part begins, children here need to find differences between them and certain similarities. Yellow color is also a division into parts, only the parts highlighted in blue and yellow differ from each other and carry a different meaning. Children are also invited to think about the fact that in a fairy tale there is an earthly world and a magical one, to find evidence, to find representatives of these worlds. Next comes a short introduction about animal tales, that there are many folk tales where the same animals can act in different ways. The first fairy tale about animals is a Russian folk tale "Cockerel - a golden comb". After it, the concepts are remembered: a hero, a fairy tale chain, a boring fairy tale. Next, we will see American fairy tales in the retelling of D. Harris "Brother Fox and Brother Rabbit", "Why does Brother Possum have a bare tail." After the fairy tales, there is an important clarification: "The sly and prankster in ANIMAL TALES is often the main character!" (p. 40). Children will also look for signs of a fairy tale in the Chinese fairy tale "How the dog and the cat began to quarrel", it must necessarily contain: magical helpers, magical objects, miracles. A problem is posed to children: this is a fairy tale, but animals are involved in it, so this fairy tale is about animals. How to act in such a situation? What to say? First, second-graders put forward their hypotheses, and then they can pay attention to the frame in which it is written in blue: "In fairy tales, animals are HEROES. In fairy tales, animals are ASSISTANTS of heroes." (p.49) And this is an essential note for schoolchildren (which, by the way, is not in Kubasova's textbooks). With the help of this, children will better learn the features and differences of each of the presented fairy tales. In comparison with the Chinese fairy tale, an excerpt from the Russian folk tale "The Magic Ring" is given. Further, the author of the textbook introduces children to oral folk art: fables, jokes, riddles, chants, tongue twisters.
The next block is called "Visiting Dunno". The first work of this block is "Dreamers" by N. Nosov. In this text, children should learn to distinguish between deceit and fiction. This text has sound writing: "Ha-ha-ha", "uh-uh", "ghm". Sound writing is also found in the next story by D. Rodari, which is called "Brief! Bruf! Braf!". The author of the textbook introduces the magical stories of B. Okudzhava "Charming Adventures" (excerpt), D. Bisset "Do you want, do you want, do you want ...".
The third block is called "Visiting the Badger". Block question: "What is real wealth?", this question will accompany each text. Such a cross-cutting hero as Badger introduces the children to an unusual poem - haiku, or haiku. In this block, second graders get acquainted with S. Kozlov's fairy tales "The Hedgehog in the Fog" (excerpt) and "Beauty". Much attention is paid to Japanese culture, Japanese works: Japanese fairy tales "Badger - a lover of poetry", "Moon on a branch", poems by authors Issho, Buson, Chiyo, Onitsura. Also, students are introduced to the book "Deniska's stories" by V. Dragunsky, and specifically with the stories "What I love", "What Mishka loves". In parallel with the stories, we met Sergei Makhotkin's poems, which have a parallel, a common idea, similar characters with Dragunsky's stories. Children look for similarities. After all the works, students will have to answer Badger's question: "What is real wealth?"
The fourth block - "Visiting the Hedgehog and the Bear". This block is about love, about respect. Here all tasks are tasks for understanding the text, for dividing its semantic parts. I will simply list the works that children get acquainted with: I. Turgenev "Sparrow", M. Karem "Poem", M. Boroditskaya "Poem", E. Moshkovskaya "Poems", V. Dragunsky "Childhood Friend", L. Tolstoy "Shark". At the end of this part, there are generalizing questions in which children are asked: what works do they remember, who are their authors, what characters do you remember? At the end of the textbook, as in any subsequent one, there is a "Museum House", which contains illustrations for the works of the book.
There are four blocks in the second part of the textbook. The first block is "Point of View". The first poem - "What I learned!" A. Kushnir, in the text of which one can find definitions of concepts: landscape, still life, portrait. In Anna Akhundova's poem "Window" there are repetitions of the word "more", which increase the reader's impression of what the main character sees in the window. The poem "Hamster" by M. Yasnov is proposed to be disassembled by sentences, and analyzed in turn (what it is for the purpose of the statement, on behalf of ... who questions are asked). There are repetitions here, the purpose of which the children need to find out. Children also get acquainted with the poems of other poets, which say: about children, about animals, there are also humorous poems (P. Sinyavsky "Fedina confectionery"). In Ovsey Driz's poem "Summer is over" there is sound writing (students need to guess from it: what subjects are we talking about), a description of the environment, which creates a certain mood when reading. In another poem by O. Driz "The Blue House" there is a new technique for second-graders - a comparison. The author of the textbook also introduces the concepts of "experience" and "theme" through the task: "- Only one of the statements is true. 1. The painting "Blue House" and the poem "Blue House" are written on the same THEME. 2.B the picture and the poem are similar EXPERIENCES of the authors. (p.50) Acquaintance with the concept of "contrast" occurs in O. Driz's poem "Who am I?", where the mood is different in neighboring quatrains. In G. Yudin's poem "Boring Zhenya" there are repetitions of expressions ("I tell him") and comparison ("like an ancient old man").
The second block - "Children's magazines". At the beginning of the block, the author introduces the second graders to the concept of "news". News is what guys share with each other. News is important and not very important, "fresh" and not very "fresh". News is reported by journalists - people who are among the first to learn about any events and know how to talk about them well. magazines are called PERIODS. This means that they come out PERIODICALLY, that is, after the same intervals of time. Once a week, or once a month. There are even such magazines that come out once a year - yearbooks. "Also, second-graders get acquainted with the covers of the magazine, their numbers, content, tasks.
The fourth and final part is called "Why do we find it funny." This block contains humorous stories, poems. The questions are mainly aimed at finding the secret of "funny". There are also three weighty notes in blue: "Funny when there is contrast" (a concept already familiar to children), "We are funny because of our shortcomings" and "It's funny because of REPETITIONS". Although repetitions do not always result in a funny text, for example, in P. Sinyavsky's poem "Dachshund rides a taxi." It is also proposed to compare the fairy tale "Mirror" by L. Yakhnin and the folk tale "Teremok" so that children remember the features of folk tales. The "endless" poem comes to us further, which shows how the poet made "funny" from an ordinary poem (Pyotr Sinyavsky "Butters and Radishes"). The word "sound-writing" appears for the first time with acquaintance with Andrey Usachev's poem "Buzzing Poems", this technique also turned the poem into "funny". Finally, we meet Peter Sinyavsky's poem "Khrupelsin and Humidor". This poem is a confusion, children need to guess what is the secret of this funny poem.
By the end of the third, students will have learned:
Distinguish between a fairy tale about animals, a fable, a fairy tale, a household fairy tale;
Distinguish between a fairy tale and a story on two grounds (or one of two grounds: features of construction and the main target setting of the narrative;
Find and distinguish means of artistic expression in the author's literature (techniques: comparison, personification, hyperbole (exaggeration), sound writing, contrast; figures: repetition).
The textbook for grade 3, as well as for grade 2, is developed in two parts. The first part includes 4 blocks. The first block is called "Learning to observe and accumulate impressions", it begins with S. Kozlov's poem "July", where students are first introduced to the concept of "personification": "The technique by which an object is endowed with the features of a living animated PERSON is called personification" (with .8). In Y. Koval's story "Birch Pie", third-graders will have to figure out: the hero-narrator is a boy, a young man or an old man; whether it is rural or urban, and confirm this with fragments of text. The development of finding such techniques as: comparison and personification is observed in the poems of V. Mayakovsky "Clouds" and S. Kozlov (without a title). There are personifications in Japanese haiku by Joso and Basho, they are in the text of the textbook. Through Basho's haiku, students are introduced to the "contrasting" technique ("Ugly raven / - And he is beautiful on the first snow / On a winter morning!") (p. 22). Through Emma Moshkovskaya's poem "Where is a quiet, quiet pond ..." children replenish their knowledge of techniques. The "sound recording" technique was already met by the children in the textbooks of grades 1 and 2, and now it occurs again: "Sound recording is a rare technique, but very valuable!" On the pages of the textbook, we came across the concept of "stanzas": "A poem is divided into parts. These parts are called stanzas." This block was very informative and ends here.
Let's move on to the second block - "We comprehend the secrets of comparison." The author of the textbook ace introduces "the most ancient fairy tales" - this is the fairy tale of the Indians of North America "Where did diseases and medicines come from", the African fairy tale "The Hyena and the Turtle", the Altai fairy tale "Smart Chipmunk". The text of the textbook not only explains what the "most ancient" fairy tale is, but also gives the "beginnings" of such fairy tales, the main ideas of such fairy tales. After the "most ancient" fairy tales, children begin to go through "simply ancient" fairy tales, for example, the Hungarian fairy tale "Two greedy bear cubs", the Korean fairy tale "How the badger and the marten sued" (these two fairy tales are subsequently compared, since the characters in them do similar things) , Indian fairy tale "About a dog, a cat and a monkey". After these three tales are compared: by events; by heroes, character; by construction. There is an acquaintance with the "wandering" fairy tale of the Indian people. And finally, the "less ancient" Cuban fairy tale "The Turtle, the Rabbit and the Boa Constrictor". Assignment to the fairy tale: "Prove that it has the features of a "less ancient" fairy tale. And then prove that it still values the same things that have always been valued in a "simply ancient" fairy tale. What is it? There is a note to this question: "If a fairy tale is built as a chain, then it uses the construction of the "most ancient" fairy tale. Next, the children get acquainted with another Indian fairy tale "cunning jackal", where they compare it with the "wandering", "most ancient" and answer the question what qualities of a "less ancient" fairy tale distinguish it from all the other, above presented types.After reading two more fairy tales (the Buryat fairy tale "Snow and the Hare" and the Khakass fairy tale less difficult questions: "1. Are these fairy tales about animals or fairy tales?"; 2) Find a place for these fairy tale stories on the TIME TAPE. Which features of fairy tales are most noticeable in them?".
The third block - "Trying to understand why people fantasize."
"To visionaries, everything around seems animated and alive," the author writes. After - a poem by Novella Matveeva "Potato deer", at the heart of fantasy here are used such techniques as: personification, comparison, and sound writing. Then the "Bat Poster" appears: "The purpose of the fable is to strike the imagination of the listeners with an extraordinary fiction, that which does not happen. The purpose of the fairy tale is to reveal to the listeners the secrets of natural forces and teach them to communicate with the animated world of nature and with the magical world. The purpose of the story is to "tell" a case from life (even a fictional one!), but in such a way as to reveal the characters of specific people. (p. 116). The second "Bat Poster" tells the children that: "In the story, events develop in the same way as in ordinary life, that is, they obey CASE. And in a fairy tale, the development of events obeys strict fairy-tale LAWS." (p. 117). In just two pages, N. Churakova explained how similar genres differ from each other. A very interesting poem was written by K. Balmont "Gnomes", in which only one phrase can take readers to a magical world.
The fourth block is called "Learning to love". This block contains stories and tales about love, and not only for man, but also for nature. The tasks are aimed at understanding the texts. The guys were looking for a description of the characters, characterized them and looked for the main idea of the texts. In this block, students got acquainted with the following works: T. Ponomareva "Weather Forecast" and "Summer in a Teapot", M. Weissman "Jellyfish's Best Friend", A. Kuprin "Elephant", K. Paustovsky "Hare Paws", S. Kozlov "If I don't exist at all." This ends the first part.
The second part includes 6 small blocks. The first block is "Native Side". Important questions are asked after the poem by Nikolai Rylenkov: "Explain how these actions differ: look and peer, listen and listen?", "Which verbs more accurately express the impression of the picture of nature created by the poet?". The concepts of small and large homeland are considered through Issho haiku. Next comes the fairy tale "The Steel Ring" by K. Paustovsky. The tale is divided into semantic parts, after which there are questions for generalization. After reading, it is necessary that the children remember the features of the fairy tale, correlate it with this one. A new term appears - a realistic picture (in comparison with a fairy-tale one) based on A. Pushkin's poem "Here is the north, catching up the clouds ...".
The second block is called "We need our protection". In this block, third-graders will get acquainted with the great work of Dmitry Mamin-Sibiryak "The Gray Neck". After the third part of the work, the author asks to find the techniques that the author used to convey the despair of the Gray Neck. After the students read the story, they will need to classify it as an animal story or a nature story. In the task, children are also asked to find those fragments that cannot be in a fairy tale about animals and fragments that cannot be in fairy tales about nature. And then - draw a conclusion. Students use the concept of "stanza" to disassemble the poem in parts and give them names.
The third block is called "Laboratory of Arts". In Buson haiku, the guys are asked to find a technique familiar to them in the second line: "Clearly drawn in black." Onomatopoeia is found in Yuri Koval's story "Nightingales" ("tii-vit", "bullets, bullets"). In this block, an acquaintance with the "metaphor" technique (special turns of speech, invented words) takes place.
The fourth block "How difficult it is to become a man" begins with a rather large excerpt from the work "The Wonderful Journey of Niels with Wild Geese" (author - Selma Lagerlöf). In the course of reading this fairy tale, questions were asked for comprehension of what was read. Students' opinions were asked about the actions of the characters. The author asked to give characteristics to the characters. After the story, we come across a poem by B. Zakhoder "Well, a little mouse!", In which the mouse wants to become an adult as soon as possible and an excerpt from the story "Tyoma's Childhood" "Tyoma and the Bug" by N. Garin-Mikhailovsky, which are presented for familiarization and accumulation of species-genre and literary impressions.
The fifth block is "Such a fragile and such a strong world of feelings." Questions about knowledge about fairy tales are found after G.Kh. Andersen's work "The Steadfast Tin Soldier": "A folk tale can be as sad as an author's one?" in the soldier of the features of the hero of a fairy tale? In D. Kedrin's poem "I see everything as a field with buckwheat ..." there are definitions that are repeated twice, the guys again need to explain why the poet used the repetition technique. For the first time, the question about the genre of a poem appears: "How do you define the genre of a poem? Can it be sung?"
The last block has a very loud name - "Beauty will save the world." In this block, all works are aimed at searching for beauty, both in the texts themselves, their ideas (the main idea), and the search for beauty in relationships (friendship), nature. In this block, students are introduced to the tales of S. Kozlov "How the hedgehog and the Bear cub rubbed the stars", "Let me have a twilight with you", Buson "From here, from there ...", V. Dragunsky "The Girl on the Ball", Issa "There are no strangers between us! ...", M. Osechkina "Violinist", N. Matveeva "Galchonok", Ch. Perro "Riquet with a Tuft", B. Zakhoder "What is the most beautiful of all?". At the end of the textbook there is a "Council of Consultants" - a dictionary of unfamiliar words or expressions. This is the end of course 3.
By the end of grade 4, graduates will have learned:
Represent the main vector of the movement of artistic culture: from folk art to author's forms;
Find and distinguish between means of artistic expression in the author's literature (techniques: comparison, personification, hyperbole (exaggeration), sound writing, contrast, repetition, different types of rhyme).
The fourth grade textbook consists of two parts. Large and serious works are already being studied here. The first block of the first part is called "We comprehend the laws of a fairy tale: we look for in it a reflection of ancient ideas about the world." At the beginning of the block, it is told about the ideas of ancient people about the world around them. Many ancient ideas about the world can be observed in ancient legends. Children get acquainted with the ancient Greek legend "Perseus". This legend is compared with a story from Pushkin's fairy tale. Children will have to understand what a magical world is in this legend, what heroes, objects belong to this world. Next comes the actualization of knowledge about fairy tales: children remember what fairy tales they have read or know and want to read. The through hero Evdokia Vasilievna draws the attention of children to the peculiarity of the hero of a fairy tale: "The HERO of a fairy tale is usually the youngest child (son or daughter) in the family or even an orphan." A fairy tale reflects injustice and fights against it; order is always restored there: "the poorest and most unfortunate person turns out to be rich and happy at the end of the tale" (p. 30). The features of the heroes in the fairy tale are also noted: "1. If the brothers or sisters are lazy, then the HERO is hardworking (and sometimes vice versa!); 2. if they are tall, then he is small in stature; 3. If they are smart (with a worldly mind), then he - fool (from their point of view); 4. If they do not have a connection with the magical world, then the HERO necessarily establishes this connection: either with the wizard himself, or with a magical animal, or with a magical object. After the stipulations, there is a Russian folk tale (in abbreviation) "Sivka-Burka". The questions are related to the hero of the fairy tale, his adventure into the magical world. After that come the Russian fairy tales "Kroshechka-Havroshechka", "The Sea King and Vasilisa the Wise", about the magical world, about magical heroes and objects, it is proposed to answer according to Evdokia Vasilievna's notes, to see and note the main features.
The second block is called "We get acquainted with the narratives based on folklore. We find in the epic an interest in history, and in the author's fairy tale - an interest in the world of feelings." At the beginning of the block, the guys and teachers talk about what an epic is (this is a narrative in which there are features of history). The first epic, which the fourth-graders get acquainted with, is called "Ilya Muromets and the Nightingale the Robber", it is in poetic form, but the ending is in prose (otherwise, it was the same in textbooks on literary reading in the Harmony UMC). Further on the pages of the textbook appears an excerpt from "Sadko". Fairy tale "The Little Mermaid" G.Kh. Andersen is presented here as author's literature.
The third block - "Learning from poets and artists to see the beauty of nature and the beauty of man." In this block, children get acquainted with the works of poets. In Nikolai Zabolotsky's poem "The Thaw" there are repetitions, sound writing, there are such expressive means as metaphors, epithets. They analyze in detail the poem by Ivan Bunin "There is no sun, but the ponds are bright ...", "Childhood". They get acquainted with the great work of Vladimir Nabokov "Resentment" and his own poem "Mushrooms".
The fourth block - "We peer into the faces of our peers who lived long before us. We find out how similar we are to them." In this part, fourth-graders get acquainted with three works: Leonid Andreev "Petka in the country", Anton Chekhov "Vanka" and "Boys".
The second part of the fourth grade textbook consists of four blocks. The first block is called "Trying to understand how beauty affects us." This block consists of texts that are presented here for review and understanding. In these texts, children are looking for beauty: I. Pivovarova "How the steamers see off", L. Ulitskaya "Paper Victory", S. Kozlov "Do not fly away, sing, bird!" and "It would be so long ago, Hare!", V. Sokolov "On the multiplication of foliage ...", B. Pasternak "Spring again", V. Sokolov "All the ink is out."
The second block is called "approaching the solution of the SECRETS OF SPECIAL VIEW. We find out what helps a person to become a person." The author returns the children to the already familiar work of S. Lagerlöf "Niels' Wonderful Journey with Wild Geese", it is here in excerpts and again there are no tasks for analysis, only questions for reproduction, for reading comprehension. Next, the children get acquainted with the amazing work of A. de Saint-Exupery "The Little Prince". Here is not a complete work, but its excerpts, although if we compare: in the program "Harmony" at the end of the fourth grade, children go through this work in full.
The third block is called "Discovering that art has its own special truth." In Samuil Marshak's poem "How winter worked! .." the author introduces students to rhyme: it can be paired, crossed and encompassing rhyme.
The fourth block - "We are convinced that people have no future without a past. We think about what a fatherland is." First, in the block there are poems and stories about the motherland, fatherland. In A. Akhmatova's poem "In Memory of a Friend" one is asked about such an expressive technique as contrast, in N. Rylenkov's poem "To the Motherland" one recalls "opposition", and in "Everything seems to me a field with buckwheat ..." D. Kedrin recalls repetition. Questions about the use of specific techniques in this part were very rare, so it was appropriate to single out those poems in which expressive means of speech are recalled and practiced. At the end of the textbook, N. Churakova introduces us to the hymns: "Ancient Greek Hymn to Nature", "National Anthem Russian Federation". This ended the entire initial course of teaching literary reading under the program" Perspective Primary School ".
1.4 Benchmarking educational programs on literary reading on the formation of literary propaedeutics
most main task term paper is the analysis and comparison of programs on the general aspects of literary propaedeutics. A table will help us draw conclusions (Table 1).
Table 1.
|
Literary propaedeutics at different stages of education |
UMC "Harmony" |
EMC "Perspective Primary School" |
|
|
Accumulation of types and genres of literary creativity |
1 class - nursery rhymes, fables, riddles, counting rhymes, tongue twisters, fables, fables. Folk tales and author's, stories, poems; 2 cells - + reading books, proverbs, riddles in prose, true story; 3 cells - + stories in verse, legends, haiku, classification of fairy tales (magic, everyday; folk, author's) 4 cells - + classification of stories: about animals, about children, historical; epic, play, myth. Conclusion: in the "Harmony" program, students get acquainted with both small genres (folklore) and large ones. Schoolchildren do not lose sight of the fact that stories and fairy tales have their own classification. |
1 class - jokes, counting rhymes, riddles, tongue twisters, incantations; boring tale, cumulative (tale - chain). Poems, stories, folk and author's tales; |
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