Students in oral speech. Pedagogical project "development of oral speech in literature lessons." Dialogue speech of students in reading lessons

Developing students' oral speech means helping it to be more logical, accurate, expressive and imaginative. And if all the lessons make a student’s speech logically correct, accurate and meaningful, little by little, then expressiveness and imagery, emotionality, coherence and intonation richness are acquired to a greater extent thanks to literature lessons. The first visual example, a sample of spoken speech for students, is the living word of the teacher. From the 5th grade, children begin to compare stories from teachers of different subjects. The manner and style of the teacher’s story is imitated, capturing the features of intonation, words and expressions they like. This imitation in the 5th grade is more conscious than in elementary school: children begin to pay attention to precise, intonationally rich, meaningful and expressive words. By choosing the most appropriate form of presentation depending on the topic, the teacher strives to make his story as emotional as possible and most accurately leading to the topic. The example of a teacher is also very important in the formulation of a question, an answer, a short but clear and precise review of what is read or told. It is necessary not only to monitor the exact wording of your own question, but also to show what is important for schoolchildren to take into account when formulating a question in general. Students listen to the teacher’s questions, read the questions given in the textbook, and try to say it themselves.

No less responsible is the word of the teacher who evaluates the student’s work: what is the student’s answer, how correct, meaningful, emotional is it, what is interesting about his speech, what are his mistakes in reading? Unfortunately, the teacher’s oral reviews sometimes boil down to the following: “I didn’t read it very expressively, sit down, three.” The student never found out what his mistake or mistakes were. Another time he will receive the same grade and the same “exhaustive” review. In many cases, it is useful to reinforce the teacher’s word by students reading articles in the textbook.

The textbook's articles are based on the works of famous folklorists, literary scholars, and writers. It is important to hear how certain words and phrases sound, and to understand, comprehend and partially introduce what you hear into your own speech. Many articles use words in a figurative meaning, this teaches schoolchildren to master such words before reading a work of fiction. Each article contains specific vocabulary. By reading about works of oral folk art, students learn and introduce new words and expressions into their speech (oral folk art, passed down from generation to generation, treasures of folk poetry), master new terms and definitions (proverbs, sayings, fairy tales, riddles). In addition, the construction of phrases and lexical features of articles will warn students against mixing words that can be used in one story about a writer or era, but are unacceptable in another. An extremely important aspect of improving students’ oral speech are exercises in expressive reading of works of art, gradual complication and variety of these exercises. For example: “Ivan the peasant son and the miracle Yudo” (expressively read aloud the passage to which the drawing relates. Read how it tells... about the three battles of Ivan the peasant son) - the task sets you up for preparing to read fragments of a fairy tale, selective reading, for example, read a description of nature - in this case, you can resort to more complex exercises: while preparing expressive reading, pay attention to the description of nature, the features of this description. An integral part of the work of a literature teacher in each of the lessons is vocabulary work. It is carried out during the story of the teacher himself, including difficult words in the fabric of the narrative, and while reading articles about writers, and during the analysis of a work of art or retellings of students. When carrying out vocabulary work, it is necessary to distinguish between words of active and passive vocabulary. For example, words that need to be explained (troll, Christmas Eve, slingshot, strechka, etc.) so that the meaning of what is read can be understood, and words that can be entered into

Written speech Oral and written speech are closely interdependent, and therefore the methods of developing oral and written speech of schoolchildren in literature classes have much in common. one should keep in mind its specific features that distinguish it from oral speech. Forms of written speech are monological, it is characterized by logical ordering, strict construction of phrases, the presence of not only coordinating, but also subordinating constructions, the widespread use of conjunctions, and the use of a variety of synonyms. The methodology of teaching literature has paid and continues to pay considerable attention to the development of written speech among schoolchildren in the process of studying works of art. V.V. Golubkov, M.A. Rybnikova, S.A. Smirnov, N.V. Kolokoltsev Particular attention, both in past decades and in modern methodological literature, has been paid to the theory and practice of school composition. Types of exercises to develop written speech among middle school students Work on the development of students' written speech is diverse and depends on: a) on the age characteristics of the students, b) the level of their literary and speech development, c) on the type and genre of the work of art on the basis of which speech work is carried out with schoolchildren and d) on the cognitive tasks set by the teacher and communication tasks. Essay and presentation. EXPRESSION is a written retelling of a text read or listened to and analyzed. An ESSAY represents the writer’s own reflections on a read and analyzed work of art or its excerpt in various written speech genres. In the presentation, the writer reproduces ready the text of a work or an excerpt from it, in the essay is created own text.

First of all, the essays are divided by methodologists into two main groups: essays on literary topics (essays related to the course of literature) and essays based on personal impressions, life observations and experiences of students. A variety of techniques for analyzing major epic and dramatic works in high school lead to a variety of student essays on a literary topic. Among them, the following types of essays can be distinguished: 1. Essays about literary characters (individual, group, comparative characteristics of images-characters). In such topics, the image of the hero comes to the fore from the social, moral, philosophical, artistic and aesthetic problems associated with the image of a given hero or a number of heroes from one or several works of the same era. 2. Essays based on the analysis of the work as a whole, which, in turn, highlight topics that require: a) evaluation of the entire workb) consideration of the moral, social, philosophical problems posed in this workd) analysis of the artistic form of the work3. Analysis of individual episodes and parts of the work4. Literary reviews such as “The fate of the Russian village in the literature of the 50-80s. XX century”, “Man and his time in the stories of A.S. Solzhenitsyn5. Reasonings (reflections) of students about the relationship of literature to life (“What the study of Russian classical literature gave me,” “You can only believe in Russia (F.I. Tyutchev). 6. Essays and studies of a problematic nature (“Is Bazarov a revolutionary?”, “Did I kill myself or an old woman? (based on F. M. Dostoevsky’s novel “Crime and Punishment”)”, “Is Molchalin funny or scary?”

17. N.V. Gogol’s poem “Dead Souls”: genre, issues, images, composition. The author's position in the novel. The pinnacle of N.V. Gogol’s creativity was the poem “Dead Souls.” When starting to create his grandiose work, he wrote to Zhukovsky that “all of Rus' will appear in it!” Gogol based the conflict of the poem on the main contradiction of contemporary reality between the gigantic spiritual forces of the people and their enslavement. Realizing this conflict, he turned to the most pressing problems of that period: the state of the landowner economy, the moral character of the local and bureaucratic nobility, the relationship of the peasantry with the authorities, the fate of the people in Russia. Gogol’s poem “Dead Souls” displays a whole gallery of moral monsters, types that have become household names. Gogol consistently portrays officials, landowners and the main character of Chichikov's poem. Plot-wise, the poem is structured as the story of the adventures of Chichikov, an official who buys up “dead souls.” Almost half of the first volume of the poem is devoted to the characteristics of various types of Russian landowners. Gogol creates five characters, five portraits that are so different from each other, and at the same time, in each of them the typical features of a Russian landowner appear. The images of the landowners whom Chichikov visits are presented in contrast in the poem, since they carry various vices. One after another, each spiritually more insignificant than the previous one, the owners of the estates follow in the work: Manilov, Korobochka, Nozdrev, Sobakevich, Plyushkin. If Manilov is sentimental and sweet to the point of cloying, then Sobakevich is straightforward and rude. Their views on life are polar: for Manilov, everyone around them is beautiful, for Sobakevich they are robbers and swindlers. Manilov does not show real concern for the well-being of the peasants, for the well-being of the family; he entrusted all management to a rogue clerk, who ruins both the peasants and the landowner. But Sobakevich is a strong owner, ready to commit any scam for the sake of profit. Manilov is a careless dreamer, Sobakevich is a cynical fist-burner. Korobochka's callousness is manifested in petty hoarding; the only thing she cares about is the price of hemp and honey; “I wouldn’t go cheap” even when selling dead souls. Korobochka resembles Sobakevich in his stinginess and passion for profit, although the stupidity of the “clubhead” takes these qualities to a comical limit. The “accumulators”, Sobakevich and Korobochka, are opposed by the “spendthrifts” - Nozdryov and Plyushkin. Nozdryov is a desperate spendthrift and debauchee, a devastator and ruiner of the economy. His energy turned scandalous

vanity, aimless and destructive. If Nozdryov threw his entire fortune to the wind, then Plyushkin turned his into just an appearance. Gogol shows the final point to which the death of the soul can lead a person using the example of Plyushkin, whose image completes the gallery of landowners. This hero is no longer so much funny as scary and pitiful, since, unlike previous characters, he loses not only his spirituality, but also his human appearance. Chichikov, seeing him, wonders for a long time whether it is a man or a woman, and finally decides that the housekeeper is in front of him. Meanwhile, this is a landowner, the owner of more than a thousand souls and huge storerooms. True, in these storerooms, bread rots, flour turns into stone, cloth and linens turn into dust. A no less eerie picture appears in the manor’s house, where everything is covered with dust and cobwebs, and in the corner of the room “heaps of things that are rougher and that are unworthy to lie on the tables are piled up. It was difficult to decide what exactly was in this pile,” just as it was difficult to “get to the bottom of what... the robe” of the owner was made from. How did it happen that a rich, educated man, a nobleman turned into a “hole in humanity”? To answer this question. Gogol turns to the hero's past. (He writes about the rest of the landowners as already formed types.) The writer very accurately traces the degradation of man, and the reader understands that man is not born a monster, but becomes one. This means that this soul could live! But Gogol notices that over time, a person submits himself to the prevailing laws in society and betrays the ideals of youth. All Gogol’s landowners are bright, individual, memorable characters. But with all their external diversity, the essence remains unchanged: while possessing living souls, they themselves have long ago turned into dead souls. We do not see the true movements of a living soul either in an empty dreamer, or in a strong-minded housewife, or in a “cheerful boor,” or in a landowner-fist who looks like a bear. All this is just an appearance with a complete lack of spiritual content, which is why these heroes are funny. Convincing the reader that his landowners are not exceptional, but typical, the writer also names other nobles, even characterizing them by their last names: Svinin, Trepakin, Blokhin, Potseluev, Bespechny, etc. Gogol shows the reason for the death of a person’s soul using the example of the formation of the character of the main character - Chichikova. A joyless childhood, devoid of parental love and affection, service and the example of bribe-taking officials - these factors formed a scoundrel who is like everyone around him. But he turned out to be more greedy in his pursuit of acquisitions than Korobochka, callouser than Sobakevich and more impudent than Nozdryov in the means of enrichment . In the final chapter, which completes Chichikov’s biography, he is finally exposed as a cunning predator, acquirer and entrepreneur of the bourgeois type, a civilized scoundrel, the master of life. But Chichikov, differing from the landowners in his entrepreneurial spirit, is also a “dead” soul. The “brilliant joy” of life is inaccessible to him. The happiness of the “decent man” Chichikov is based on money. Calculation crowded out all human feelings from him and made him a “dead” soul. Gogol shows the emergence of a new man in Russian life, who has neither a noble family, nor title, nor estate, but who, at the cost of his own efforts, thanks to his intelligence and resourcefulness, is trying to make a fortune for himself. His ideal is a penny; They see marriage as a profitable deal. His preferences and tastes are purely material. Having quickly figured out a person, he knows how to approach everyone in a special way, subtly calculating his moves. His inner diversity and elusiveness are also emphasized by his appearance, described by Gogol in vague terms: “There was a gentleman sitting in the chaise, neither too fat nor too thin, one cannot say that he was old, but not that he was too young.” Gogol was able to discern in his contemporary society the individual features of the emerging type and brought them together in the image of Chichikov. NN city officials are even more impersonal than the landowners. Their deadness is shown in the ball scene: no people are visible, muslins, satins, muslins, hats, tailcoats, uniforms, shoulders, necks, ribbons are everywhere. The whole interest of life is concentrated on gossip, gossip, petty vanity, envy. They differ from each other only in the size of the bribe; all are slackers, they have no interests, these are also “dead” souls. But behind the “dead” souls of Chichikov, officials and landowners, Gogol discerned the living souls of the peasants, the strength of national character. According to A.I. Herzen, in Gogol’s poem “behind the dead souls - living souls” appear. The talent of the people is revealed in the dexterity of the coachman Mikheev, the shoemaker Telyatnikov, the brickmaker Milushkin, and the carpenter Stepan Probka. The strength and acuity of the people's mind was reflected in the glibness and accuracy of the Russian word, the depth and integrity of Russian feeling - in the sincerity of the Russian song, the breadth and generosity of the soul - in the brightness and unbridled joy of folk holidays. Unlimited dependence on the usurper power of the landowners, who condemn the peasants to forced, exhausting labor, to hopeless ignorance, gives rise to stupid Mityaevs and Minyaevs, downtrodden Prosheks and Pelageyas, who do not know “where is right and where is left,” submissive, lazy, depraved Petrushkas and Selifans. Gogol sees how high and good qualities are distorted in the kingdom of “dead” souls, how peasants die, driven to despair, rushing into any risky business, just to get out of serfdom. Not finding the truth from the supreme authorities, Captain Kopeikin, helping himself, becomes the chieftain of the robbers. “The Tale of Captain Kopeikin” reminds the authorities of the threat of revolutionary rebellion in Russia. Feudal deadness destroys the good inclinations in a person and destroys the people. Against the backdrop of the majestic, endless expanses of Rus', real pictures of Russian life seem especially bitter. Having depicted Russia “from one side” in its negative essence, in “stunning pictures of triumphant evil and suffering hatred” in the poem, Gogol once again convinces that in his time “it is impossible otherwise to direct society or even an entire generation towards the beautiful until you show all the depth of his real abomination.”V. G. Belinsky called N. V. Gogol’s poem “Dead Souls” “a creation snatched from the hiding place of people’s life, a creation profound in thought, social, public and historical. You had to be a poet to write such a poem in prose... a Russian national poet in the entire space of this word.” Neither in a story, nor in a novel, nor in a novel can the author so freely intrude his “I” into the course of the narrative. Digressions organically introduced into the text help the author touch on various problems and aspects of life, and make the description of the characters in the poem more complete. The theme of patriotism and literary duty is further developed at the end of the poem, where Gogol explains why he considers it necessary to show evil and expose vices. As proof, the author cites the story of Kif Mokievich and Mokiya Kifovich, exposing those writers who do not want to paint harsh reality, who “turned a virtuous man into a horse, and there is no writer who would not ride him, urging him with a whip and everything with which it's horrible." The author’s lyrical digressions about Russia and the people are closely related to the theme of writer’s duty and patriotism. With amazing depth, Gogol depicts the gray, vulgar feudal reality, its poverty and backwardness. The tragic fate of the people is especially reliably highlighted in the images of serfs and tavern servants. Drawing the image of the runaway peasant Abakum Fyrov, who loved a free life. Gogol shows a freedom-loving and broad nature, which does not put up with the oppression and humiliation of serfdom, preferring the difficult but free life of a barge hauler. Gogol created a truly heroic image of a Russian hero, which has a symbolic character. Russia of “dead souls”, always snacking, playing cards, gossiping and building its well-being on abuse. Gogol contrasts the lyrical image of folk Rus'. Throughout the entire poem, the affirmation of the common people as its positive hero merges with the glorification of the Motherland, with the expression of patriotic judgments. The writer praises the “lively and lively Russian mind”, its extraordinary ability for verbal expressiveness, daring, ingenuity, and love of freedom. When the author turns to images and themes of people's life, to the dream of the future of Russia, sad notes, a soft joke, and genuine lyrical animation appear in the author's speech. The writer expressed his deep hope that Russia will rise to greatness and glory. In the poem, Gogol acted as a patriot, in whom there lives faith in the future of Russia, where there will be no Sobakevichs, Nozdrevs, Chichikovs, Manilovs... Depicting in the poem two Russias in parallel: local-bureaucratic and popular. Gogol in the last chapter “pushed” them and thereby once again showed their hostility. A fiery lyrical digression about love and homeland, about the recognition of its great future: “Rus! Rus'!.. But what incomprehensible, secret power attracts you?.. What does this vast expanse prophesy?.. Rus'!...” - is interrupted by the rude shout of the courier, galloping towards Chichikov’s britzka: “Here I am with a broadsword!..” Thus, Gogol’s beautiful dream and the ugly autocratic reality surrounding him met and passed each other. The image of the road plays an important role in the poem. First it is a symbol of human life. Gogol perceives life as a difficult path, full of hardships, at the end of which cold, unpleasant loneliness awaits him. However, the writer does not consider it aimless; he is full of consciousness of his duty to the Motherland. The road is the compositional core of the narrative. Chichikov's chaise is a symbol of the monotonous whirling of the soul of a Russian man who has lost his way. And the country roads along which this chaise travels are not only a realistic picture of Russian off-road conditions, but also a symbol of the crooked path of national development. “The Troika Bird” and its rapid growth are contrasted with Chichikov’s chaise and its monotonous circling off-road from one landowner to another. “Bird-three” is a symbol of the national element of Russian life, a symbol of the great path of Russia on a global scale. But this road is no longer the life of one person, but the fate of the entire Russian state. Rus' itself is embodied in the image of a troika bird flying into the future: “Eh, troika! bird three, who invented you? to know, you could only have been born among a lively people, in that land that does not like to joke, but has scattered smoothly across half the world. Is it not so for you, Rus', that a lively, unstoppable troika rushes?.. and rushes, all inspired by God!. Rus', where are you going? Give an answer. It doesn’t give an answer... everything that is on earth flies by... and other peoples and states give way to it.”

18. Main ideas, themes, images of A. and Kuprin’s creativity. Analysis of one of the works in a literature lesson at school. The problem of man and the world around him can be considered using the example of the works of A. Kuprin. The writer’s work was for a long time, as it were, in the shadows, overshadowed by the bright representatives of his contemporary prose. Today, A. Kuprin’s works attract readers with their simplicity, humanity, and democracy in the noblest sense of the word. The world of heroes is colorful and crowded. He himself lived a bright life, filled with diverse impressions - he was a military man, a clerk, a land surveyor, and an actor in a traveling circus troupe. Kuprii has said many times that he does not understand writers who do not find anything more interesting than themselves in nature and people. The writer is very interested in human destinies, while the heroes of his works are most often not successful, successful people satisfied with themselves and life, but rather the opposite. But A. Kuprin treats his outwardly unsightly and unlucky heroes with the warmth of humanity that has always distinguished Russian writers. “The Garnet Bracelet.” The story was written in 1911. Its plot is based on a real event - the love of the telegraph official P.P. Yellow. to the wife of an important official, member of the State Council Lyubimov. Lyubimova’s son, the author of famous memoirs Lev Lyubimov, recalls this story. In life, everything ended differently than in A. Kuprin’s story - the official accepted the bracelet and stopped writing letters, nothing more is known about him. The Lyubimov family remembered this incident as strange and curious. Under the writer's pen he appears as a sad and the tragic story of the life of a little man who was elevated and destroyed by love. This is conveyed through the composition of the work. It will contain an extensive, leisurely exhibition that introduces us to the exhibition of the Shein house. The story of extraordinary love itself, the story of the garnet bracelet, is told in such a way that we see it through the eyes of different people: Prince Vasily, who tells it as an anecdotal incident, brother Nikolai, for whom everything in this story seems offensive and suspicious, Vera Nikolaevna herself, and, finally, , General Anosov, who was the first to suggest that here, perhaps, lies true love, “of which women dream and of which men are no longer capable.” The circle to which Vera Nikolaevna belongs cannot admit that this is a real feeling, not so much because of the strangeness of Zheltkov’s behavior, but because of the prejudices that control them. Kuprin, wanting to convince us, the readers, of the authenticity of Zheltkov’s love, resorts to the most irrefutable argument - the hero’s suicide. In this way, the little man’s right to happiness is affirmed, but the motive of his moral superiority over the people who so cruelly insulted him, who failed to understand the strength of the feeling that was the whole meaning of his life, arises. The text of the work includes the theme of the inevitability of the death of the main character - it is conveyed through the symbolism of light: at the moment of receiving the bracelet, Vera Nikolaevna sees red stones in it and with alarm thinks that they look like blood. Finally, the theme of the clash of different cultural traditions arises in the story: the theme of the east - the Mongolian blood of Vera and Anna's father, the Tatar prince, introduces into the story the theme of love - passion, recklessness; the mention that the sisters’ mother is English introduces the theme of rationality, dispassion in the sphere of feelings, and the power of the mind over the heart. In the final part of the story, a third line appears: it is no coincidence that the landlady turns out to be a Catholic. This introduces into the work the theme of love-admiration, which in Catholicism surrounds the Mother of God, love-self-sacrifice. A. Kuprin's hero, a little man, is faced with a world of misunderstanding around him, a world of people for whom love is a kind of madness, and, faced with it, dies. //"); //]]>

19. Problems and artistic originality of A.S. Pushkin’s prose. Its significance for the formation and subsequent development of realistic Russian prose. Analysis of one of the prose works. “Belkin's Tales” is a completely new phenomenon in Pushkin’s work. This is the poet's first completed prose plan. The cycle included 5 short stories: a station superintendent, a shot, a peasant young lady, a blizzard, and an undertaker. The stories were created during September - October 1830. The story is told on behalf of Ivan Petrovich Belkin, this person is fictitious. From the preface from the publisher and the History of the Village of Goryukhin, it becomes known that Belkin is a meek and humble person, retelling in his stories stories he heard from different people: a colonel, a St. Petersburg adviser, a clerk, a girl. Therefore, in the narrative, the voices of the authors of the stories, Belkin and Pushkin himself interact, invading the text through digressions, remarks, and epigraphs. Through Pushkin's light irony, the reader looks at everything that is happening and at Belkin himself, although formally the author only plays the role of publisher. As Chernyshevsky rightly noted, Pushkin was the first to describe Russian morals and the life of various classes of the Russian people with amazing fidelity and insight. Despite the outward artlessness and simplicity style, Pushkin’s work is an artistically complex phenomenon. This is reflected in the choice of problems, plots and heroes. With Belkin’s stories, a little man begins his pedigree in Russian literature. Belkin's story is a bilingual text in terms of genre, and involves reading both in the language of an anecdote and in the language of a parable. The artistic bipolarity of “Belkin's Tales” is explained primarily by the presence of two deep genre sources of cyclical formation, which laid the foundation for classical Russian prose. These sources are seen as pre-literary genres, parables and anecdote. It is important to note that in Pushkin’s text the parable is called “the story of the prodigal son,” which puts it on a par with all the other “stories” of the book - right up to the “stories” of Belkin’s old housekeeper. Belkin’s stories “conjugate these genre polarities: to the same extent that anecdotalism destroys their parable seriousness, it itself, in turn, is subject to universalization here by the parable strategy of genre thinking. The hero of the anecdote Belkin (in the first note of the Publisher we read: “There is an anecdote that we do not include, considering it unnecessary”) and the parable characters of popular prints are extra-plot figures of the cycle. Framing the fictional reality of the “stories”, they remain on the boundaries of the literary plot, since they completely belong: the first - to the national-historical everyday life, the second – to the ahistorical and non-national universal being. Analysis of the story “The Station Agent”.

20. Study of the life and creative path of a writer in literature lessons. When studying a literary work at school, we strive to combine the reader's perception of students and the objective scientific interpretation of a literary text. It is important for the teacher to “ensure” the true moral impact of the writer’s biography on schoolchildren. K. Paustovsky wrote in “The Book of Wanderings”: “Every written book is, as it were, the core of some nebula that has raged in a person, a star that was born from this nebula and acquires its own light. Perhaps we bring only one hundredth of our lives within the narrow confines of our books.” Obviously, one of the tasks of school study of the writer’s biography is to show how and what impressions of life and art are melted by the artist in his work. The age development of students determines in high school their increased interest in the psychology of the writer, attention to the internal dynamics of his life . The evolution of the artist’s views and moods, the social, moral and aesthetic aspects of this evolution should be “presented” in lessons on studying the biography of artists specifically. It is necessary to better illuminate the reasons for the psychological and creative originality of writers, to more often compare their destinies, views, feelings. The originality of the artist’s personality, the unity of his life behavior and creative program will be revealed to students if, when studying the biography, we highlight ideological, moral and aesthetic problems that are interesting to a certain age and are organic for the author of the work. The program defines in various ways the genres of studying the personality of a writer in high school. When it comes to Pushkin, Tolstoy, Gorky, the program offers to trace the life and creative path of the artist, i.e. give students a detailed change in the stages of their life and literary activity. When the program talks about the need to give a biography, the teacher can offer the class a generalized portrait of the writer without consistently tracing the chronological outline of his life. Finally, the program also contains the following wording: “Life and literary activity.” Here it is necessary to show the connection between biography and literary work, to pay more attention to the creative activity of the writer. When studying the life path of L. N. Tolstoy, for example, students need to be shown how the writer’s attitude to himself, to life, to art changes, which for it remains enduring despite these changes. The role of worldview in the development of personality, consistent work on oneself, development of a program of inner life, the desire to realize oneself and understand the reasons for one’s actions, to give a certain direction to developed and natural qualities (will, impressionability, etc.) etc.) - all these questions can be raised when studying the biography of Leo Tolstoy, firstly, because it provides rich material for solving them, and, secondly, because students of IX grade are keenly interested in these questions. Life and Tolstoy’s creativity encourages us to pose a number of questions of an aesthetic order (in what relationship are the concepts of “good” and “beauty”? What imprint does the artist’s personality leave on the works he created?). The life and work of A. P. Chekhov lead students to think about personality and circumstances, about whether a person can overcome the influence of the environment, counteract it, if this influence is alien to his ideals. Chekhov himself realized his life as squeezing a slave out of “himself drop by drop.” How did this happen, why did the writer succeed? Such questions cannot but contribute to the formation of the worldview of ninth-graders. Studying the biography of a writer should arouse in students interest in his personality, his ideological quests, reflected in his work. The biography and creative path of the writer is the key to the difficult moments of studying a work of art included in the school curriculum. Separating the biography from the study of the creative path of the writer, introducing the biography as a preface to the textual analysis of the work is possible in grades IV-VII. There such a construction is justified and necessary.

PURPOSE OF THE ACTIVITY.

Development the student’s personality, his creative abilities, interest in learning; formation of the desire and ability to learn.

Upbringing moral and aesthetic feelings, emotional and valuable positive attitude towards oneself and the world around us.

Development a system of knowledge, abilities, skills, methods of various types of activities.

Security and strengthening physical and mental development of children.

Preservation and support child's individuality.

In my pedagogical credo, I place first place the individual and personal development of the child, the development of his human and creative “I”.

A person-centered approach to learning involves taking into account:

Age characteristics

Character and temperament

Interests and inclinations of the child

Personal abilities of the student

MY METHODOLOGICAL TOPIC: “FORMATION AND DEVELOPMENT OF STUDENTS’ ORAL SPEECH IN RUSSIAN LANGUAGE LESSONS.”

This topic helps me reveal in children: individuality, friendliness, ease of communication, horizons through verbal communication.

The principles that guide my work:

1. communicative principle of teaching
2. cognitive learning principle
3. principle of psychological comfort
4. principle of creativity

One of the leading principles of speech development is the communicative principle of language teaching. This principle involves not only the acquisition of knowledge about speech and its functions, but also the development in the field of four main types of speech activity: speaking, listening, reading and writing.

The cognitive principle of language learning and speech development provides that language is the most important means of not only communication, but also a means of cognition. Children are fascinated by this principle because it gives them the opportunity to search for new means and ways of acquiring new knowledge. This principle helps develop independence in children.

Starting from the first grade, I introduced the study of phraseological units into the system. This activates curiosity and promotes the development of observation skills.

A modern lesson is a lesson in which the teacher skillfully uses all opportunities for the development of the child’s personality, his active intellectual growth, high-quality assimilation of knowledge, and the formation of his moral foundations.

EDUCATIONAL OBJECTIVES.

Formation

A) scientific knowledge (concepts, facts, phenomena)

B) methods of action

C) skills in applying learned methods and skills of educational work

D) positive attitude towards learning, interests, abilities.

DEVELOPMENTAL TASKS

1. Development of mental abilities (ability to highlight the main, essential, independent thinking)
2. Development of will
3. Development of the emotional sphere

EDUCATIONAL TASKS

1. Formation of a scientific worldview
2. Formation of moral values ​​and beliefs
3. Patriotic education
4. Labor education
5. Physical education

Download:

Preview:

1. Theoretical foundations of methods for developing students' speech.

1. The subject of speech development methods.
2. Language and speech.
3. Forms of speech. Types of speech.
4. Stages of speech production.
5. Stages of a speech act.

1. Methodological system for developing students' speech.

1. Patterns of speech acquisition.
2. Principles of speech development.

1. Communicative principle of language teaching.
2. Cognitive principle.
3. The principle of gradualism.
4. The principle of integrity of the process of formation of the lexical and grammatical structure of speech.

1. Methods and techniques for developing students' speech.
2. Speech development lesson.

1. Thematic lesson plan for speech development in 2nd grade.

1. Speech development and content of teaching the native language.

1. A culture of speech. Exercises on speech culture.
2. Enrichment of students' vocabulary.

1. Lexicon.
2. Phraseologisms.
3. Synonyms
4. Antonyms

1. Presentation
2. Composition

1. Didactic material on speech development.

1. Defining Sentence Boundaries
2. Connected text.
3. Make up a story.
4. Answers on questions.
5. Story on issues.
6. A story based on pictures and questions.
7. A story from the beginning.
8. A story based on a series of paintings.
9. Free dictations.
10. Planning.
11. Dividing the story into parts.
12. Find the meaning of the word.
13. Repetition of words.
14. Terms.
15. Antonyms.
16. Synonyms.
17. Phraseologisms.
18. A short school dictionary of foreign words.
19. Adverbs and adverbial expressions.
20. Essays.
21. Presentations.

1. Practical part. Lessons.
2. Bibliography.

1. Theoretical foundations of methods for developing students’ speech.

1. Subject of speech development methods

Speech development - this is not only the enrichment of vocabulary and grammatical structure, not only the education of a culture of speech and the development of skills in speech activity in all its types - it is also the development of a sense of language and linguistic intuition, and ultimately - the development of all components of language ability.

Objectives of speech development methods:

1. studying the patterns of speech acquisition;
2. research of principles and methods of speech development of schoolchildren;
3. determining the content of school teaching in the native language, which would contribute to the child’s speech development;
4. creation of a methodological system for speech development of students.

1. Language and speech

In linguistics, it is customary to distinguish between concepts language and speech . This distinction was first introduced into linguistic science by the Swiss scientist Ferdinand de Saussure. He considered language and speech to be two sides of a more general phenomenon - speech activity. These phenomena are mutually related and do not exist without each other, at the same time, there are differences between them, which boil down to the following.

Language is a system of signs that serves as a means of human communication and thinking.

Speech is the human activity of using language for the purposes of communication and thinking.

1. Speech is a phenomenon real , existing in reality either in oral or written form. Language is a potential phenomenon, which means it is possible for a person to master a language from childhood. In order to master a language, a person must be in a human society where he is provided with a speech environment.

2. Language is a social phenomenon. It arose in human society from the needs of people to communicate, convey their thoughts and experiences. The speech is individual phenomenon, for each person expresses his thoughts, feelings, his will.

3. Since speech is individual, it subjective; language is objective : its norms are mandatory for all speakers of a given language.

4. Speech situationally determined, and language is independent of the communication situation. Speech is always purposeful and determined by the communication situation. Children should be taught to choose language means based on the specific communication situation.

1.3 Forms of speech. Types of speech.

Language and speech are two aspects of speech activity, which includes two opposite processes - the process of generating speech and the process of its perception.

Speech exists in two forms - oral and written. In this case, the oral form of speech is primary, the written form is secondary.

Oral speech is spoken loudly and perceived by ear, and written speech is speech encoded using graphic signs and perceived through the organs of vision.

Oral speech has means of sound expressiveness: intonation, tempo, strength and timbre of sound, pauses and logical stress.

In modern society, the role of written speech is increasing and its influence on oral speech is increasing; Versions of oral speech based on written language are rapidly developing: reports; speeches, television and radio broadcasts.

Oral speech includessuch types of speech activity (types of speech) as speaking and listening.

Written speech includestypes of speech activities such as writing and reading.

1.4 Stages of speech production.

Speech is the activity of using language for the purpose of communication.

It is customary to distinguish four stages of any activity:

1. stage of orientation in the conditions of activity;
2. the stage of developing an action plan in accordance with the results of the orientation;
3. the stage of implementation of this plan;
4. control stage.

Let's consider the structure of a speech act.

1. Orientation stage. A speech act is possible only when a speech situation, a situation of communication, has taken shape or has been specially created. Speech situations can be natural, which develop as a result of communication between people, and artificial, which are created specifically for the purposes of training and speech development.

The teacher’s task is to create speech situations in the classroom that would have great developmental potential and would generate a motive for speech in students.

Speech, being a means of thinking, has a decisive influence on overall development and at the same time depends on this development.

2. Planning stage. At this stage it happenstopic definitionstatements and main idea. In addition, the plan of the utterance as a whole, its structure, and composition are determined.

3. Statement implementation stage. It consists of two parts:

a) Lexical and grammatical structuring. This is the choice of words to express. Lexical structuring is carried out by first extracting parts of speech from the speaker’s memory, and then selecting thematic vocabulary within the parts of speech, i.e. words corresponding to the topic of this statement and the chosen style of speech. Grammatical construction is the arrangement of selected words in the desired sequence and their grammatical connection.

4. Control stage . The speaker evaluates the result of his speech, its effect.

1.5 Stages of a speech act.

1. Orientation. Children should be taught how to navigate a communication situation, on the basis of which certain language means will then be selected.

2. Planning. Planning for future speech has always been given great importance. The ability to determine the topic, the main idea of ​​the text, are the main speech skills that are formed in the process of learning the native language.

3. Implementation.

a) in the process of learning a language, the vocabulary and grammatical structure of students’ speech should be enriched.

b) children should be taught the norms of oral and written speech, paying special attention to spelling, spelling, teaching intonation and means of expression.

4. Control . At school, it is important to work to prevent and eliminate speech errors and purposefully develop the skills of conscious reading and understanding of texts.

Conclusion: The sound structure of speech, lexico-grammatical structure (enrichment of vocabulary and grammatical structure), and coherent speech need formation and development.

2. Methodological system for developing students’ speech

Speech development goals:

For what and why teach?

Means of education:

Forms of training organization,

typology and structure of speech development lessons

Principles:

Graduality;

Integrity;

unity of language learning and speech teaching

Speech concepts, communication skills, experience of speech activity

2.1 Regularities of speech acquisition.

Methodist scientist L.P. Fedorenko discovered and formulatedbasic patterns of speech acquisition:

1. from the training of the muscles of the speech organs;
2. on the child’s understanding of the lexical and grammatical meanings of language units;
3. from the child’s development of sensitivity to expressive speech;
4. from the development of a sense of language as the ability to remember the norms of using language units in speech;
5. the assimilation of written speech is conditioned by the development of oral speech;
6. the pace of speech enrichment accelerates as the child’s speech-creating system improves.

2.2 Principles of speech development.

Among the important didactic principles are the principle of continuity and perspective, the principle of continuity and consistency.

The most important functions of language are the function of communication, cognition and thinking, the function of transferring knowledge and culture from generation to generation.

The set of particular methodological principles of speech development consists of: the principle of gradualism, the principle of relying on speech algorithms, the principle of the unity of language learning and speech teaching, the principle of the integrity of the process of formation of the lexical and grammatical structure.

2.2.1 Communicative principle of language teaching

Communication as one of the personal qualities is considered one of the most important in the personality structure, and the formation and development of this quality is one of the problems of teaching the Russian language.

It is no coincidence that state standards for the Russian language devote significant space to the task of developing students’ communicative competence. Solving this problem involves not only acquiring knowledge about speech and its functions, but also developing skills in the field of four main types of speech activity (speaking, listening and understanding, reading, writing).

When developing means of developing speech skills in schoolchildren, one should remember two sides of work on speech development:

1. formation of correct speech in students;
2. formation of good, communicative speech.

2.2.2. Cognitive principle

The connection between language and thinking is the most important pattern from which the cognitive principle of speech development follows.

It follows that the process of speech development must be inextricably linked with the development of thinking, with learning such mental operations as analysis, synthesis, comparison, analogy, and generalizations. The process of teaching the native language should be organized in such a way that for the child it is connected with knowledge of the world around him, culture and himself.

2.2.3. The principle of gradualism

This principle is the most important principle of developmental teaching of native language and speech.

Graduality is the division of the teaching system into several complexes (means, methods, forms, techniques of the same type), focused on different stages of learning, with a gradual increase in the volume of imparted knowledge, with the complication of their nature and forms of presentation, depending on the stage of training, on the degree of development students' speeches.

Graduality is a precise “dosage” of educational information and a precise selection of optimal teaching methods.

The principle of gradualism underlies the selection of didactic material for speech development lessons.

The principle of gradualism determines:

1. compliance of techniques and methods with the age characteristics of children;
2. correspondence of teaching aids to the stage of training;
3. the degree of accessibility of the means used for a specific group of students in accordance with the level of development of their speech.

2.2.4. The principle of unity of language learning and speech teaching.

This principle involves teaching language units in the unity of meaning, form and function. The developmental effect of the speech environment is much higher where language learning and speech teaching are a single educational process in Russian language lessons.

2.2.5. The principle of integrity of the process of formation of the lexical and grammatical structure of speech.

This principle determines the need to form vocabulary and grammatical structure of speech in unity and interconnection.

One of the stages of generating a statement is the process of selecting vocabulary to express thoughts and simultaneous grammatical linking of words. Methodologically, it is important to study a word in the unity of its meaning and its function in speech.

2.2.6. The principle of comparison and differentiation of language units in the process of speech choice.

A linguistic regularity is the presence of paired (binary) phenomena and concepts in a language.

From this pattern follows the methodological principle of comparison and differentiation of language units.

So, the following concepts are binary:

oral/written speech;

vowel/consonant sounds;

stressed/unstressed vowel;

simple/complex

animate/inanimate

The assimilation of such concepts on the principle of comparison and differentiation ensures the formation of linguistic competence of students. The study of synonymy and antonymy is based on this principle.

This principle is necessary at all levels of language ability:

1. on lexical (word choice)
2. in grammar
3. at the text level (choice of text type, style)

2.3 Methods and techniques for developing students’ speech

Receptive	Reproductive		Productive
	Full	Incomplete	Research	Creative
	Techniques
Teacher's story.	Presentation and retelling of the text.		Problematic presentation of knowledge.	An essay on a given topic.
Reading the rules and instructions.	Working with deformed text.		Independent interpretation of the meaning of words.	Creating a text on a similar topic.
Observation of language and speech.	Analysis of words and texts (according to the instructions).		Determining the theme, main idea.	Writing riddles, stories, proverbs.
Demonstration of the algorithm, generation and perception of texts, application of texts.	Selection of synonyms, antonyms, cognates.		Drawing up a plan, a title.	Writing a continuation of a famous fairy tale.

In the methodological system of speech development for schoolchildren, there are three types of methods.

1. receptive – used in the formation of speech science concepts, knowledge about speech and methods of speech activity;
2. reproductive – aimed at mastering algorithms for speech perception, used in the formation of speech skills.
3. Productive – ensures the development of skills in speech activity and creative speech abilities of students.

2.4 Typology of speech exercises.

1. Preparatory exercises.

The purpose of these exercises is to provide students with a primary perception of the word: to give a semantic definition of the word, to explain the features of spelling and spelling.

2. Illustrative Exercises.

Their goal is to show students patterns of word usage. By inserting a new word into a sentence, repeating it out loud or writing down examples of phrases and sentences, the child learns the meaning of the word in this specific context and masters its compatibility.

3. Basic, strengthening exercises.

As a result of these exercises, children master the connections between words, and students develop the ability to select synonyms and antonyms for words.

As a result of various logical, lexico-grammatical, grammatical-spelling, syntactic, stylistic and other exercises, a lexical unit appears in the unity of its lexical and grammatical meanings.

4. Repeating and generalizing exercises.

Their goal is to ensure the assimilation of the polysemy of a word, its consolidation not only in the passive dictionary, but also the introduction of the word into the active vocabulary of schoolchildren. For example: composing sentences, choosing words on a topic.

5. Creative exercises

The purpose of such exercises is to teach how to use the studied language materials in coherent speech.

2.5 Speech development lesson

2.5.1 Typology of speech development lessons.

A Russian language lesson is, first of all, a lesson in the development of students’ speech and thinking. This requirement is due to the specifics of the academic subject itself, the social function of which is revealed in the communicative function of language.

First of all, a distinctive feature of a speech development lesson is targeted work on the main types of speech activity - writing, speaking, reading and listening.

RUR goals Compared to traditional ones for Russian language lessons, they are significantly expanded.

These include:

1. enriching the vocabulary and grammatical structure of students’ speech;
2. teaching the norms of language, its appropriate use depending on the speech situation, on the meaning;
3. development of the basic qualities of “good speech”;
4. development of thinking and formation of processes of mental activity.

Method of absorption knowledge on URM is not receptive, not reproductive, but mainly heuristic, research. A new task is opened by the student independently, in the process of observing speech.

At the core training contentURM is based on a system of speech science concepts - a system of theoretical knowledge about speech, its forms, types, properties. Exercises are cognitive questions that lead students to the topic of the lesson. The predominance of exercises of a search and creative nature helps to activate the mental and speech activity of students.

Lesson structure dictated by the goals and content of educational tasks and speech situations. This includes the following elements:

1. introduction to the speech situation and creation of speech motivation;
2. defining an educational task, finding methods and algorithms for solving it;
3. organization of educational and speech activities for the perception of statements in oral and written form;
4. conclusions and generalizations regarding the achieved goals of speech.

Basic types of speech development lessons.

1. Lesson explaining educational material.
2. A lesson in consolidating material and developing skills in various types of speech activity.
3. Lesson testing knowledge and skills.
4. A lesson in dealing with mistakes.

2.5.2 Thematic lesson plan for speech development in 2nd grade.

No.	Lesson topic	Number of hours
	Repetition of what was learned in 1st grade. The topic of the text, the main idea. Types of text. Expressive reading. Intonation. Word. Direct and figurative meaning of the word. Visual means of language. Explicit and hidden comparison. Mystery. Learning to write riddles. Visual means of language. Personification. Presentation with linguistic analysis of the text. Writing a fairy tale. Poetic speech. 1,2,3,4,5 learn to write rhymes An essay is a description based on a ready-made beginning, a collectively drawn up plan. The connection between sentences in the text. Repetitions in the text and ways to eliminate them. The connection between sentences in the text. Working with deformed text. Creative text editing. Text structure. Plan. Types of plan. Communication culture. At the birthday party. Communication culture. Rules of conduct at school.

3. Development of speech and content of teaching the native language.

3.1 Speech culture

The formation of linguistic competence involves learning the norms of the native language and developing the ability to be guided by these norms in speech.

The result of such purposeful work is the inculcation of a culture of speech (accurate, expressive, clean, appropriate, logical).

1. Orthoepic (pronunciation and stress norms).
2. Lexical (norms of word usage).
3. Grammatical.

Speech culture exercises

Truly cultured people speak correctly - according to the rules.

Each language has its own rules - norms:

1. What rule of polite behavior is mentioned in the excerpt from S. Marshak’s poem.

...And if you

Polite,

Then in a conversation with my aunt,

And with grandfather

And with grandma

You won't kill them.

2. Read an excerpt from a poem by A. Barto.

There was a son with his mother -

Little bear cub.

I was like my mother -

Into a brown bear.

Son of discipline

Doesn't recognize it at all!

He found bee honey -

And with a dirty paw in the honey!

Mother says:

Bear in mind -

You can't grab food like that!

And when he began to slurp,

Smeared in honey.

Exercise. The word ignorant means an uneducated person, and the word ignoramus refers to an impolite, uncultured person. What can you call a teddy bear? Explain.

3. Explain the meaning of the words. (If you have any difficulty, consult a dictionary)

Thrifty and thrifty

Come in and sign in

4. Read, inserting the appropriate word from the brackets.

1. This may cause…… (sorrow/joy)
2. (Forward/first)……think, then answer.
3. You will (get off/get off)……at the next stop.
4. Quickly (go/drive)……and come back.

Emphasis. Pronunciation of words.

1. Read a couple of words. Put stress on different syllables.

The road is the road. Forty - forty. Atlas - atlas.

Make sentences with the words.

1. Read it out loud. Find and underline the “extra” word that differs in pronunciation from the others.

On purpose, poor student, excellent student, scrambled eggs.

Explain the meaning of all words.

1. Distinguish the emphasis.

4. Read.

The road is a spoon for dinner. The road has a head on its shoulders. The road is shaded when the day is hot. Young people are treasured everywhere, old people are respected everywhere.

Write it down. Underline words that are spelled the same but pronounced differently.

1. Enriching students' vocabulary.

When teaching vocabulary, schoolchildren become familiar with such linguistic concepts as:

lexical meaning of the word - direct and figurative, single and polysemantic words, synonyms, antonyms, phraseological units.

The task of developing linguistic competence involves mastering the norms of word usage. During the training, schoolchildren acquire skills in working with basic explanatory dictionaries of the Russian language.

3.2.1. Enrichment of vocabulary.

Students' vocabulary is replenished when studying all academic subjects, but a special role in this belongs to the Russian language and literature.

The enrichment of vocabulary in Russian language lessons is ensured by systematic vocabulary work.

One of the ways of internal, high-quality development of educational material may be the systematic study of the vocabulary of the native language that is incomprehensible to schoolchildren. It is imperative to work on studying folk poetic words, outdated words, and book poetic vocabulary, otherwise these words will not be used and will not be understood by anyone. Lexical material provides grounds for creating interdisciplinary connections between the Russian language and reading, natural history, and drawing.

Thematic group “Wooden architecture”

Wooden architecture is an original part of Russian folk culture, and the words associated with it are an integral part of the Russian language. Unfortunately, with the loss of wooden architecture in the city, the corresponding words, the Word believing - “the pillar on which the gate is hung” - can hardly be revived in active use (although the named object has not been lost and has not received a different name). Other words can still be revived by working with them in class.

1. As soon as they arrived at the palace, thunder struck, the ceiling split in two and flew into them upper room the falcon is clear. (“Marya Marevna.”)

The word upper room it is interesting, firstly, in terms of meaning: “a front, clean room in a peasant hut on the second floor”, secondly, from the point of view of the spelling of the letters and, thirdly, the word-formation connections with the words maid, gorenka, which are not obvious to students .

2. The princess cried a lot, the prince persuaded her a lot, commanded her not to leave the high place. tower . (“White duck.”)

The word tower denotes a raised, tall residential building, a castle, a boyar in the form of a tower. Dictionary word, you should remember the spelling of the second letter e.

3. Once the old man went to barn take some grains. (“The Sun, the Moon and Raven Voronovich.”)

The word barn denotes a structure for folding grain bread, flour. You should remember the spelling of the first letter a.

To check how the children understood the teacher’s explanation, you can offer an exercise:

Connect the word and its meaning with a line.

Barn clean room on the second floor.

Gornitsa boyar castle in the form of a tower.

Terem building for storing bread.

The same exercise can be supplemented with a third row - pictures. Labor and drawing lessons, if desired, can also serve to figuratively fill the meaning of the words barn, upper room, tower. The lessons of Moscow studies will become clearer if students know these words well.

Thematic group “Degrees of relationship”

Words naming degrees of relationship are among the most ancient. At the same time, these same words quickly become outdated part of the vocabulary. Words used back in the time of Peter I strict - “paternal uncle” - or wow - “maternal uncle” - completely lost. Not every adult knows the difference between wordsson-in-law, brother-in-law, brother-in-law, daughter-in-law, sister-in-law.However, children must understand the words bastard, matchmaker . They are found in works of the children's reading circle.

1. And the weaver with the cook, with matchmaker Baba Babarikha is ordered to rob him. (A.S. Pushkin.)

The word matchmaker denotes a relative of one of the spouses in relation to the relatives of the other spouse. Related words matchmaker, matchmaker.

2. Once the prince calls his uncle . (“Tsar Maiden.”) In this context, the word uncle means “educator”, but understanding this is difficult due to the polysemy of the word ( uncle - “man”) and paronym uncle .

3. - Hello, gossip -fox! Where are you running?

Oh, don't ask, wolf - kumanek

The words kum (kumanek) and godmother (gossip) denote “godfather and godmother in relation to each other and the parents of the godson.” To fully explain the meaning of these words, we must talk about the meaning of baptism.

4.- Well, dear son-in-law , you have a lot of horses! (“Sivka-burka.”)

The word son-in-law (son-in-law) denotes the husband of a daughter or sister.

5.- I will make them hungry, - the youngest daughter-in-law speaks. (“Ivan is the cow’s son.”)

The word daughter-in-law denotes a son's wife to his parents.

6. Stepmother was hateful, rest stepdaughter didn't give it. (“Daughter and stepdaughter.”)

The word stepdaughter denotes the stepdaughter of one of the spouses.

The word stepmother denotes the father's wife in relation to his children from a previous marriage.

Since the names of degrees of kinship form a system and so that children accurately understand the meaning of the words son-in-law, daughter-in-law, matchmaker, matchmaker, you can use an exercise based on the diagram.

Write words above the empty arrowsson-in-law, daughter-in-law, matchmaker, matchmaker.

The system of kinship relations has not changed much over the centuries that the Russian language has existed: there are daughters-in-law, matchmakers, stepdaughters, and stepmothers. But for some reason the words that call them are forgotten. Perhaps, having understood these words, children will come closer to the understanding of family and kinship given to us in our language.

Thematic group “Units of quantities”

Measures of quantity are studied in elementary school during mathematics lessons. But these are modern, generally understandable measures. In fairy tales and children's literature, schoolchildren will encounter many incomprehensible measures of magnitude. They can be easily explained by indicating their relation to the modern measurement system. In mathematics lessons, you can solve several problems related to the translation of “fairy-tale” quantities into ones that we understand.

1. No matter how he digs, so arshin , no matter how he digs, it’s different. (“Ivan is a bear’s ear.”)

The word arshin denotes an ancient unit of length, which is equal to 71 cm 12 mm.

2. It’s a stone’s throw to the city, and eight verst will not be. (“How a priest hired a worker.”)

The Volga runs through the whole of Russia, three thousand one hundred and sixty verst (L.N. Tolstoy.)

The word verst denotes an ancient unit of length, which is equal to 1.0668 km.

3. She was so tender, small, only inch height. (H. K. Andersen.)

The word inch denotes a unit of length (Imperial system), which is equal to 2.54 cm.

4. When both rivers converge, there are already 30 in the Volga fathoms width, and the Vauza is still a small and narrow river. (L.N. Tolstoy.)

The word fathom denotes a unit of length, which is equal to 2.134 m. Oblique fathom - from the heel of the right foot to the tips of the fingers of the outstretched left hand. Machaya fathom - distance between arms outstretched to the sides (154 cm).

5. I won't charge you anything half-shells (H. K. Andersen.)

The word half denotes a small coin with a denomination of half money, i.e. almost a quarter of a penny.

6. Get me two vats - poods twelve meats each. (A.M. Tolstoy.)

The word pud denotes a measure of mass equal to approximately 16 kg.

7. There wasn’t a penny - but suddenly altyn. (Proverb.)

The word altyn denotes a coin (three kopecks).

When studying the names of monetary units, it is useful to talk about the fact that you could buy a kalach for lunch, and lunch at a tavern for altyn. These conversations can be held in a history lesson in schools where this subject is studied in fourth grade, or in a mathematics lesson where modern units of quantities are studied.

Thematic group “Names of birds”

The names of birds are not known to children because they become outdated, but because there are many birds themselves. To know the names of birds, you will have to get acquainted with the appearance of birds, their habits, and voices. Natural history lessons can help with this. Only the rarest names of birds are given here, which, however, are found in literature for primary schoolchildren.

1. It starts to get dark, get out woodcock from the bushes onto the forest road and walks on the ground, feeding. (G. Snegirev.)

The word woodcock denotes a forest bird with reddish-brown plumage, about 35 cm in length, an object of hunting.

2. The field mouse squeaks, sychik he will rush at him and grab him. (G. Snegirev.)

Words owl, sychik denote small and medium-sized owls.

3. Haircut hatched from an egg in a dark hole and squeaked in surprise. (V. Astafiev.)

The words swift, haircut denote shore swallows living in burrows.

4. And she stood in the reeds bittern on one leg... (V. Bianchi.)

The word bittern denotes a nocturnal marsh bird of gray-brown color. Stretching upward, the bittern hides among the reeds. He screams protractedly and howls.

5. Cormorants scurry , hatchets, fulmars... (S. Baranov.)

The word cormorant denotes a large water-swimming bird with black plumage. Studying this word is useful in preventing slang usage.

In total, about 70 names of birds were found in children's literature. It is impossible to list them with examples and meanings within the framework of one article, so we have to limit ourselves to listing a few more names:snipe, guillemot, zorka, winter muzzle, snipe, nuthatch, waxwing, goldeneye, loon, chaffinch, oriole.

In addition to the thematic groups partially described in this article, many others could be studied - the material is almost inexhaustible. For example, the thematic group “Professions”.

Unlike kinship names, professions and positions change quite quickly. Few people now know that the word goldsmith in past centuries meant “sewage man,” and not a jeweler. But this word almost never appears anymore. Of the outdated names of professions that are still used, the following require explanation: solicitor - “lawyer” (and not a cook), kisser - “seller of alcohol in a tavern”, barber - “hairdresser”, saddler - “master who makes harness”, barge hauler - “a worker in an artel pulling ships with a towline.”

Types of exercises to teach vocabulary and enrich students' vocabulary.

1. preparatory exercises
2. illustrative
3. fixative
4. repeating and generalizing
5. creative

Main stages

Stage 1. Interpretation of a word using one or more techniques

a) interpretation of a word using context.

The teacher reads the text, and then offers a number of words, from which students write down those that fit the meaning of the text, verbally explaining their choice.

Folk tales, proverbs and sayings have always served as an inexhaustible source of moral experience. Proverbs should be constantly used to enrich children's vocabulary.

b) interpretation of a word using synonyms and antonyms

Stage 2. Work on spelling and spelling of words.

a) Write down the words with the same root. Indicate the parts of speech.

Stinginess, buy, purchase, miser, stingy.

b) Write down the words, indicate the parts of speech.

Stage 3. Working on patterns of word usage.

The teacher introduces schoolchildren to ready-made phrases and sentences that include the words being studied.

Stage 4. Work on semantic connections of words.

The exercises teach schoolchildren to identify and assimilate word connections. Students have access to such types of connections as synonymy and antonymy.

Stage 5. Exercises in independent use of words.

a) insert words suitable in meaning into the proverbs.

b) make up sentences with these words.

3.2.2. Work on phraseological units.

Phraseologisms accurately hit the target, helping children understand the internal psychological state of a person, the world of his experiences and character. Cognition enriches their vocabulary, forms the imagery of thinking and speech. This is a means of broadening the horizons of children.

It is very important to teach children to consciously use a dictionary, look for the necessary phraseology, make it clear why it is needed, what information it contains, pay attention to the features of the figurative expressions being explained, and introduce them to archaisms and neologisms.

The explanation of many phraseological units is based on referring to the polysemy of the word.

For example: Take into your own hands.

Skillful fingers.

Like having no hands.

Hastily.

They help students determine the literal and figurative meaning of the word hand.

In Russian folk tales, children encounter exaggerated phraseological expressions.

For example: In the distant kingdom.

At the pike's command.

Visible and invisible.

To fully understand the true meaning of these expressions, it is necessary to include them in lexical work.

Information about the origin of certain phraseological units not only enriches students’ knowledge, but also generates curiosity.

Exercises on the topic “Phraseological units”

1. Game “Who is faster?” Select 10 phraseological units with a common noun.

For example: hand,

nose,

head

2. Find phraseological units

Turned out to be a good guy

I was able to carry the load -

Didn't lose face

And he didn’t wear his galoshes.

3. Complete the expressions taken from fairy tales:

“Soon the fairy tale will tell - .....”

“This is all a saying;...”

1. Compose, compose, come up with sentences, a story, a fairy tale, using phraseological units:

“Stand strong”, “Jack of all trades”.

1. Select phraseological units that mention the objects depicted in the pictures.
2. Select synonyms for the indicated phraseological units - phraseological units.

For example: Rush at full speed - rush at full speed - rush at full speed.

7. Lotto. Prepare cards for the game: write down interpretations of phraseological units on the large ones, and phraseological units on the small ones. The presenter shuffles the cards and distributes large ones to the players.

3.2.3 Synonyms.

One of the main tasks of conducting educational activities is to clarify and enrich the active vocabulary of younger schoolchildren. In this sense, the meaning of the synonym is enormous. Synonymy in a language testifies to its richness and expressive capabilities. Synonymous means of language allow you to express thoughts accurately and figuratively. Working on synonyms expands and clarifies students’ vocabulary, promotes accurate expression of thoughts, and prevents repetitions of the same word.

All work on this topic includes the following stages:

1) selection of words close in meaning;

2) highlighting words (synonyms) in the text;

3) determining students’ understanding of words;

4) introduction of a word and other context - composing a sentence;

5) the use of synonymous words in coherent speech.

Let's look at some types of work with synonyms that can be used in the classroom.

I. A selection of words that are close in meaning.

1. Selection and grouping of words that are similar in meaning. The task gives words for one part of speech. From this list you need to select two groups of words that are close in meaning; Sometimes this list can include one or two extra words (“conflict word”), for example:runs, looks, sleeps, rushes, looks, rushes, does not take his eyes off.

I II

runs and looks

rushes looks

rushes without taking his eyes off

Depending on the level of preparedness of the children, the task can be made easier or more difficult. So, to complicate things, not two, but three synonymous rows can be given, two or three “conflict words” can be introduced, different parts of speech can be given, etc.

2. In the task “Let’s check Pinocchio’s work,” adjectives are given in two columns. It is necessary to match the words in the left column with words from the right column that are close to them in meaning.

old diligent

diligent overweight

heavy brave

brave decrepit

cheerful funny

Here you can give a task related to the lexical compatibility of an adjective with a noun. For example: indicate which words can be matched to the data:old (person, house, fool).

3. You can use the game “Replace the word”.

Objective of the game: replace adjectives in phrases with synonyms with prefixes without- or without-.

brave man fearless

calm weather with no wind

clear cloudless sky

restless dream

clear, colorless liquid

4. What synonyms (of four letters) can replace the following words:friend, enemy, soldier, walk, red, sadness, work?

Answer: friend, enemy, warrior (fighter), go, scarlet, grief, work (deed).

5. Game “Name it differently.”

What names of animals and birds do we remember to name the brave man, the badass, the cunning one, the bumpkin, the free rider?

Answer: eagle, rooster, fox, bear (sloth seal), hare.

6. Game “Open the flower”.

The words of the first column are written on the front side of the chamomile petals (made from paper), and the words of the second column are written on the back side. The one who guesses the word on the back of the petal turns it over and reads the word.

schoolboy student

hurry hurry up

talk whisper

hut house

rain shower

II. Highlighting words (synonyms) in the text.

1. Students look for synonyms in poems.

Storms, blizzards and blizzards -

There's so much hassle with them,

So much noise, hustle and bustle,

How tired I am of them!

V. Berestov

Will chillaspen,

Trembling in the wind

It's getting coldin the sun,

Freezingduring the heat.

I. Tokmakova

Oak of rain and wind

Not afraid at all.

Who said that oak

Scared of catching a cold?

After all, until late autumn

It's green.

So it's oakhardy.

Means, hardened!

I. Tokmakova

Here the hare came out

And she said to the Bear:

“It’s a shame for an old man to cry

You are not a Hare, butBear.

Come on,clubfoot.

Scratch the crocodile

Tear him apart

Rip the sun out of your mouth."

K. Chukovsky

2. What synonyms are found in proverbs and sayings?

Hurry up, don't rush, buthurry up.

Buddiesa lot, butfriendNo.

Overflows fromemptyVempty.

III. Determining students' understanding of words.

1. Replacing a synonym in a sentence. The purpose of such a task is to choose a more accurate, successful word.

I read an interesting(fascinating, exciting)book.

The fox tricked the bear(clubfooted).

The boy tripped and fell(stretched out, flopped).

2. Selecting from a number of synonyms the word that most accurately expresses the meaning of the proverb.

The hero fights, but the coward...(sad,I'm burning, sad).

You don’t see a log in your own eye, but you don’t see a speck in someone else’s eye...(you notice, you notice, you catch).

3. Replace the statement with one word.

Wanting something very badly.(Want.)

Sparkle, shine in the sun.(Sparkle.)

To be sick, to be unhealthy.(Get sick.)

Decorate, give a beautiful look.(Dress up.)

IV.Introducing a word into another context.

1. Reading quatrains in which the last word is replaced by a synonym. It is necessary to restore the author's text by indicating the desired word.

With a cheerful ringing song

We're going cross-country skiing.

The air is clean, the day is wonderful!

The cold (frost) does not scare us.

L. Aleksin

I didn't work in vain

And I will remember forever:

Bread tastes better not from butter,

Bread tastes better from work (labor)!

I. Demyanov

A cheerful messenger of spring showers.

The first thunder flashed in the sky,

And then the snowdrop opened his eyes

And looks around (around).

N. Rylenkov

2. Selecting the most suitable synonym word in a sentence.

Sky(closed, clouded)clouds.

Scouts carefully(watched, watched)on the opposite bank of the river.

Deer(calm, indifferent, equally stuffy)grazing in the clearing.

It's arrived(hot, warm, sultry, hot)summer.

Students must justify their choice of synonym.

V.The use of synonymous words in coherent speech.

1. This task can be used as preparation for writing coherent texts. In order to develop logical thinking and linguistic sense, you can take any text, exclude all adjectives from it, and suggest inserting words, choosing them from a synonymous row.

About sparrows

The sparrows flew on. Chick and Tweet; landed on the roof of the barn. The Red Cat was sleeping on the porch (fat, pot-bellied, plump, plump, well-fed, fat). The sparrows began to look for... a place for a nest(comfortable, suitable). We chose... a gap under the roof of the barn(shi rocky, spacious).Less than a week has passed since Chirika laid her first egg in the nest -... all in pinkish-brown speckles(little-small, small, tiny, tiny, tiny). The red-haired robber calmly ate all six... testicles(precious, beloved, dear, valuable).The wind picked up... the nest and threw it from the roof to the ground(light, airy, weightless).

V. Bianchi

2. In the text you need to avoid repetitions of words, i.e. replace the repeated word with synonyms.

Appeared at the edge of the forestbear. ... went up to the raspberry bushes and began to eat the berries. Suddenly... froze for a moment. Then he rushed back into the forest.

Words for inserts:clubfoot, beast.

In the morningstudentscome to school. Here... they read, write, draw, sing. After classes they go home. At home... they do their homework.

Words for inserts:children, schoolchildren, guys.

In conclusion, we can add that systematic and purposeful work with primary schoolchildren on the topic “Synonyms” develops their attention and interest in words, makes their speech more accurate and expressive, formulates a sense of language, and activates mental activity.

3.3 Presentation

Presentation is the perception and understanding of someone else’s text with its subsequent transmission in written and oral form. Teaching presentation should begin with texts that convey content already known to children. The purpose of presentation as a written exercise is to develop the skills of coherent speech, namely:

1. the ability to determine the topic and main idea of ​​the text;
2. the ability to divide text into parts and draw up a plan;
3. the ability to use the linguistic features of a sample text in your own presentation.

1. According to the completeness of reproduction of the source text, presentations can be complete, close to the text, selective and compressed.
2. In relation to the source text - close to the sample and with an additional task. The latter include a presentation with a creative task, for example, to express your opinion about what is stated in the text, to add a conclusion.
3. The purpose of the course is training and testing.
4. By type of speech - narrative, descriptive, presentation-reasoning.

Methodology for working on presentation.

1. Goal setting.

Before starting the lesson, it is necessary to interest the students.

2. Reading the text by the teacher.

Before reading, be sure to warn that after reading there will be questions about the text.

3. Conversation. Questions about the text.

4. Reading the text by students.

5. Writing a title.

6. Dividing the text into semantic parts. Each part is titled. The plan is written down.

7. Spelling preparation (key words, difficult words).

8. Lexical preparation.

9. Oral story for 2-3 people.

10. Repeated reading of the text by the teacher.

11. Presentation of the text.

12. Self-test.

Memo for the student

1. Listen carefully to the story.
2. Write options for the title.
3. Make a plan.
4. Make the retelling according to plan yourself.
5. Write a summary.
6. Check if the idea is conveyed clearly.
7. Check your literacy.

3.4. Composition

Essay is a type of exercise for developing coherent speech. The type of activity when performing this exercise is productive, creative. The form of speech activity can be written or oral.

Types of essays:

1. By text type:

1. description - item

interior

animal

nature

2. narration
3. literary reasoning

moral and ethical topics

2. By style: artistic

scientific

journalistic

3. By the nature of the topic: on a given topic,

free topic.

Purpose of the essay– development of the following skills and abilities:

1. defining the topic and its boundaries;
2. formulating the main idea;
3. collecting material on the topic and systematizing it;
4. choosing the required type of speech, style, and linguistic means to express the main idea;
5. dividing the text into semantic parts, drawing up a plan;
6. separate a new thought with a red line;

Some methodologists (Kutuzov) believe that special lessons on RR are not necessary, since the system of teaching literature pays attention to the development of speech. Others (Bogdanova, Marantsman, Korovina, Leonov) believe that this problem is related to the general development of schoolchildren and needs attention.

The RR problem combines the efforts of 2 subjects - Russian language and literature. The purpose of work on RR is socially significant. In order for a student to make a decision in future life, it is necessary to develop communication skills and develop the ability to defend their opinions and beliefs in a highly organized verbal form.

The very specificity of literature as an educational subject to enhance the speech development of students. The impoverishment of one’s own speech does not allow the student reader to feel the originality of the author’s thought.

The development of speech in literature lessons is directly related to the analysis of a work of art. It is carried out in 2 directions:

1) systematic enrichment of students’ vocabulary with images, visual and expressive means, theoretical and literary terminology,

2) learning to create coherent statements of different types and genres.

Principles for teaching PP.

1. Interpenetration of educational, intellectual, artistic, aesthetic and speech development of schoolchildren.

2. Organic relationship between lessons on speech development and all components of literature classes.

3. A variety of methods and techniques that stimulate student activity in literature lessons.

4. Maintaining continuity with the content and types of speech activity of students in primary, middle and high schools.

5. Practical direction of work on speech development.

6. The systematic nature of the work to improve the speech of schoolchildren.

7. Taking into account interdisciplinary connections between literature, Russian language, history, fine arts and other subjects in the process of organizing the speech activity of schoolchildren.

8. Development of oral speech

The development of oral speech is carried out in literature lessons in both middle and high schools. 3 successive stages of speech activity formation.

1. Visual-auditory: establishing emotional contact with the interlocutor. Students observe, learn to listen to the teacher’s monologue, compare and contrast other people’s statements.

2. Stage of direct communication. Goal: developing the ability to answer questions, conduct dialogue, exchange thoughts and opinions.

Detailed answers to problematic questions, retellings, oral drawing, script writing,

Explanations of the meaning of the word, selection of synonyms,

In what life situations would you use such an expression?

Come up with a context for this word or expression.

3. Stage of self-knowledge and introspection. Goal: training in monologue speaking skills. This is facilitated by the following techniques:

A detailed answer to the question

A statement on a given topic in a specific genre.

At this stage, it is important to teach students how to construct a statement.

In middle grades, dialogical skills are developed using the following techniques.

1. Formulating questions.

2. Games (whoever formulates the question correctly will create questions for the crossword puzzle).

3. Oral work with reproductions and illustrations.

In high school, the main focus is on activating speech activity. For example, with the help of vocabulary and phraseological work. (Comparison of the portrait of Pechorin and Bazarov).

The speech activity of schoolchildren needs constant stimulation in the form of oral monologues and speeches. Types of monologue speeches in literature lessons.

1. Reproductive (retelling).

2. Productive (report, artistic retelling, journalistic speeches).

The speech situation is one of the effective stimuli that encourages students to speak. Leonov identified several types of MS:

Educational and didactic (problematic),

Hypothetical (imagine you are a journalist),

Fantastic(pretend you are an old doorknob).

Requirements for PC. It must be interesting to students, it must be aimed at speech development, its resolution must be deepened by the teaching of literature, it must correspond to the age and psychological characteristics of students, and it must take into account the characteristics of a literary work.

Scientists who dealt with this issue: Rybnikova, N.V. Kolokoltsev, E.N. Kolokoltsev, Korovina.

Questions of the history of literature in school study. Biography of a writer in primary and secondary schools.

The biography of a writer is an integral part of the monographic topic in high school and part of the initial stage in middle school.

The facts of the writer's biography introduce the student to the era in which the work was created, which was reflected in it. It helps schoolchildren understand the content of the work. It can have an educational effect on schoolchildren.

Studying B involves turning to different sources:

Memoirs,

Monographs,

Letters,

Which imparts additional cultural knowledge to students. Studying B at each stage of learning may have its own specifics. In grades 5-9, the volume should be limited. Only that material is given that is directly related or relevant to the material being studied. Techniques and methods:

1) teacher’s story (2-15 minutes),

3) message from the student/s (to improve the quality of the message, the teacher can give material, a plan),

4) excursion,

5) cinema (15 minutes).

In high school, work on B is focused on understanding the historical and literary process, the artistic world of the author.

Forms of lessons for studying B:

Independent work with the textbook and additional materials,

Lesson-excursion (full-time/correspondence),

Panorama lesson,

Movie (with information or task before or after viewing).

B is studied in different volumes.

1. Life and work of the writer (Pushkin, Tolstoy).

2. Essay on life and creativity. Attention only to the main moments in the life of the writer (Lermontov, Gogol).

3. Brief sketch of life and creativity. Facts related to the work being studied are touched upon (Fadeev).

4. Review (Fonvizin, Moliere).

The main form is a lesson-lecture.

1) the teacher’s word should not repeat the textbook,

2) do not overload the narrative with information and facts,

3) include information from memoirs, critical literature, and artistic and biographical works.

Extracurricular reading.

Extracurricular reading is an integral part of academic work in the subject.

HF is one of the problems of modern technology. This is due to the fact that modern youth read little.

12% do not read at all. The reading quality also leaves much to be desired. Only 20% is occupied by classics, the rest prefer: adventures, science fiction, fantasy, detective stories, glossy magazines.

The HF problem was highlighted at the end of the 18th century by Vodovozov and Ostrogorsky. Since that time, it has constantly been in the field of view of methodologists (Rybnikova, Golubkov, Zbarsky). In all modern programs, special attention is paid to this issue, and a special section is highlighted: extracurricular and independent reading.

The purpose of HF is to encourage students to read, develop their aesthetic taste, and expand their readership.

The problem of HF has recently begun to be addressed at the state level: in 2006, a national program for the support and development of reading was adopted, in which the leading role is given to the school.

The main role in solving the problem of reading, along with literature lessons, belongs to extracurricular reading lessons.

These lessons must be taught in a system determined by the teacher himself, but not less than 6 lessons per year. The order of the lesson is determined by the teacher, and the topics are chosen by him and the students. This may be strict adherence to the program, or the teacher himself selects books based on his own preferences.

HF lessons can be conducted in a traditional form (a lesson-conversation in which the works read are discussed), but most often the lessons should be conducted in an unconventional way:

1) lesson-journey into the world of a writer,

2) lesson-KVN,

3) lesson-discussion,

4) lesson-conference,

5) round table lesson.

HF lessons should be connected with basic literature lessons. This connection can be different:

1) communication by personalities,

2) problem-thematic connection,

3) connection by genre.

HF must be controlled by the teacher:

View reader forms,

Viewing reader's diaries,

Holding special hours dedicated to discussing opinions about books.

Negative ratings are not given.

From the experience of a literature teacher

Development of students' speech in literature lessons

Topic: Humorous stories by A. P. Chekhov.
"Over salted"

The purpose of the lesson: give an idea of ​​the personality of A.P. Chekhov;
Tasks:
c/o– to enrich information about Chekhov as a person and a writer, to reveal and understand what the author satirically exposes in his story; show the features of Chekhov's style;
k/r– develop students’ speech, the ability to accurately and competently answer the question posed;
k/v– to cultivate interest in the work of A.P. Chekhov; to educate a reader sensitive to artistic words;
specialist- maintain a visually protective regime.

Equipment:
Presentation for the lesson Power Point, textbook, workbook, text of the story by Chekhov A.P. “Over-salted” (printout)

During the classes.

I. Organizational moment.

Good afternoon, guys, guests. Slide 1. Today our lesson is dedicated to Anton Pavlovich Chekhov. We will present you with a regular working lesson on learning new material. Guys, open your notebooks, write down the date and topic.
The topic of our lesson: “Humorous stories by Chekhov.”
Guys, try to formulate the goals of our lesson, what we will need to learn, study, and discuss today.
Because This is the first lesson on the writer’s work, you need to consider the main stages of his life, biography.
Features of Chekhov's humorous stories, the writer's style
One of Chekhov’s works “Over-Salted”

As an epigraph to our lesson we will take the words of Maxim Gorky about Chekhov:
“A large, intelligent, attentive man walked past this entire boring, gray crowd of powerless people; he looked at these boring inhabitants of his homeland and with a sad smile, a tone of soft but deep reproach, with hopeless melancholy on his face and in his chest, beautiful said in a sincere voice: “You live badly, gentlemen!”
Maksim Gorky.

II. Getting to know Chekhov's personality.
A.P. Chekhov is an amazing writer, an unusual person who combines true intelligence, delicacy, satire and touching poetry. It was all in him.
The writer’s parents did not endow their children with capital, as the head of the family dreamed of. But they gave them real wealth, they rewarded them with talents. All the children wrote and drew. And only Anton Pavlovich Chekhov was able to use his talents with dignity and become a world-famous writer.

Chekhov was born in Taganrog. His grandfather, who ransomed himself, was a serf. My father owned a grocery store. And Chekhov’s childhood cannot be called carefree and cheerful, because he had to spend all his free time in the shop.
When the whole family moved to Moscow, young A.P. Chekhov remained in Taganrog. As a 6th grade student at the Gymnasium, he earned his living by giving private lessons. And it was in the Gymnasium that his first talents emerged and his first humorous sketches were written.
Chekhov will write to Suvorin about this time:
Anxious letters came from Moscow from my mother asking for help. And I had to help as much as I could.
For Chekhov, his parents forever remained the most important people in his life.
Past grievances were forgotten.

Chekhov struggles with two human vices typical of Taganrog townsfolk: abuse of the weak and self-abasement in front of the strong.
From his point of view, abuse of the weak gives rise to arrogance, hypocrisy, and arrogance in a person. Humiliation before the powerful - flattery, servility, servility.
In 1879, Chekhov graduated from the Gymnasium. And among the teachers of the gymnasium, young Chekhov especially distinguishes the teacher of sacred history Pokrovsky, who spoke with enthusiasm and love about Goethe, Shakespeare, and Pushkin. And who was the first to give a funny nickname to Chekhov - Antosha Chekhonte. This will become one of the writer's pseudonyms.
Arriving in Moscow, Chekhov entered Moscow University at the Faculty of Medicine. At that time, Moscow University was famous for its famous professors; Chekhov would write about this time:

After graduating from university, Chekhov worked as a district doctor.
Chekhov began writing while still in Taganrog, then he published a handwritten journal and periodically sent it to his brother in Moscow. Arriving in Moscow, Chekhov writes short humorous stories. And in 1880 one of his first stories appeared. Chekhov, intoxicated with success, creates one story after another.
The magazines “Spectator” and “Alarm Clock”, in which the young writer is published.

The cradle of this talent was classical literature. Let us remember how Chekhov loved Saltykov-Shchedrin. And the techniques that Saltykov-Shchedrin uses in his fairy tales - hyperbole, grotesque - are also used by Chekhov.
But these techniques did not become the defining techniques of his poetics for Chekhov. The main thing is laconicism. The famous Chekhov phrase “Brevity is the sister of talent” was fully realized in Chekhov’s stories. Chekhov's early stories are entirely humorous. Chekhov's humor is original, cheerful, fervent, and this is not Gogol's laughter through tears, this is Chekhov's laughter to tears.
Chekhov published his stories under a variety of pseudonyms. Perhaps none of the Russian writers had so many middle names. Antosha Chekhonte, Doctor without patients, Nut No. 6, Akaki Tarantulov, Kislyaev, Baldastov, Champagne, ChBS, which means Man without a spleen, My brother's brother, Someone, Schiller Shakespeareovich Goethe.

Chekhov wrote to the writer Bilibin:

Chekhov chooses the profession of a doctor and a writer. Writer and doctor.
Without hesitation, Chekhov hurries to a child suffering from diphtheria, catches the plague by the tail, helps the peasants, often without taking anything. Chekhov is devoted to medicine and therefore Chekhov the doctor often appears in his stories.
Having released his first book of stories called Motley Stories, which was published in Moscow in 1884, Chekhov became famous throughout the country.
Then he buys the Melikhovo estate near Moscow, where he observes the life of the peasants, conducts active social work, and creates a real hospital reception center. Since morning, sick peasants have been milling about in Chekhov's yard. From 5 to 9 in the morning, Chekhov receives patients, then travels through the villages, and is busy with the placement of peasants in Moscow hospitals.
Writers' memories of Chekhov are countless.
Let us cite just one recollection of Korney Ivanovich Chukovsky:


Chekhov's artistic talent was formed in an era of timelessness. In 1881, Emperor Alexander 2 was assassinated, Alexander 3 ascended the throne. Censors everywhere mercilessly cross out the word Bald, Slide 35, fearing a hint of the bald Alexander 3. This is not the time for the dawn of satirical journalism, the time for light, perky, carefree laughter. And Chekhov wants to make life different, but has no idea yet what it could be like.
Although he writes: While working on his stories, Chekhov is sometimes not noticeable as an author, he hides his position, but it is visible to us. The author's voice in Chekhov's works is hidden and not noticeable. Chekhov's reticence and understatement sometimes affects the reader more powerfully than even the loudest words.

III. Watch video

In the last lesson, you, who had not yet read Chekhov’s story “Over-Salted,” I asked a question: What do you think a story with that title might be about? Remind our guests what did you answer me? (Most likely, this is a story about how one man or boy was cooking soup or porridge, and put a lot of salt in it - he over-salted it."
As homework, I suggested that you read this story and find out what the story is really about? The story has been read and, as you understand, there is no talk about soup.
Did you enjoy reading this story? Funny? What do you remember about this story?

Before we turn to the text of the story, I suggest spending 10 minutes watching an excerpt from the entire film “These Different, Different, Different Faces,” filmed in 1972. This film combines several stories by Chekhov. And what’s interesting is that all the roles in this film are played by one actor - Igor Ilyinsky. Let's see.

Physical education and visual gymnastics.

Guys, before we continue our work, I suggest you take a little rest and warm up. Please stand up. Just like the heroes of Chekhov's story, we will now go into the forest. Imagine that I am riding in a cart with a driver and passing trees and bushes. As soon as I say “Trees,” you get to your feet, as soon as I say “Bushes,” you squat. Don't be lazy!
It was a very picturesque trip. Have a seat. And let's rest our eyes for a moment. Take off your glasses, rub your palms and place them on your closed eyes. We count to 10.
So, back to our work.

IV. Work with text

So, the film has been watched. What do we laugh at when reading and watching the dramatization of Chekhov's story? (over the comicality of the situation)

Inconsistencies
What can you say about the heroes? Their names, appearance, clothes. How are they described?
Pay attention to last names and names of localities.
Land Surveyor – Smirnov
General Khokhotov
Gnilushki station
Devkino village
Let us also note the inconsistencies associated with the driver.
Firstly, the heftiest man Klim, it turns out, doesn’t have a horse, but a young skinny horse with splayed legs and bitten ears.
Secondly, it would seem that Klim, with a heroic physique, should be calm and fearless, but he, frightened by the land surveyor’s tales, not only ran away, but suddenly fell out of the cart, ran on all fours to the thicket and shouted: “Guard! Guard!"
The plot of the story is also based on a funny inconsistency: the usual trip of a land surveyor to the estate of General Khokhotov to survey the land turned into a whole adventure due to the fact that Smirnov incorrectly assessed the situation in which he found himself.
Conclusion: Chekhov, as a humorist writer, uses inconsistencies as a technique for creating a comic effect in his work. The more inconsistencies, the funnier the work turns out to be.

Scenery
Humorous stories usually don't have landscape; the action must move quickly, but the landscape slows it down. However, in the story “Over-Salted” there is a landscape. Find it, read it expressively and determine what role it plays in the story, what thoughts it gives rise to in the land surveyor’s head.

To convince students that the landscape plays a key role in this story, we suggest conducting a stylistic experiment: replacing the “Chekhovian” description of nature, for example, with this:
?What would change in the work if the action took place against the backdrop of such a landscape?

The guys gradually come to the conclusion that not only would the surveyor’s mood change, but the story itself would not exist: the hero would not be afraid that he would be robbed, would not lie, the driver would not run away - the plot of the story, built on the author’s inability, would disappear heroes to correctly navigate the current circumstances.

Dialogue?
At first glance, the main form of speech in the story is dialogue. Is it really? How can you explain this? Which punctuation mark for the end of sentences does Chekhov use most often? For what purpose?
The impression that the main form of speech in the story is dialogue is misleading.
Most of the volume of the text is occupied by the monologues of the land surveyor, who, being frightened himself, tries to intimidate the driver, so he talks and talks all the time. The hero’s speech can be conditionally divided into two parts: this is actually a lie and a direct appeal to the driver. More often than other punctuation marks at the end of a sentence in these monologues, Chekhov uses ellipses. The role of this sign in both parts of the land surveyor’s speech is different.
In one case, the ellipsis shows that the surveyor is making up his own tales on the go and at this moment does not yet suspect what he will say the next.
For example: In these cases, the meaning of ellipses is enhanced by lexical repetitions: “I fucked you so much that... that, you know, I gave my soul to God,” “a big guy like you, and... and you’ll pick me off.”
When the hero directly addresses the driver, the ellipsis conveys the land surveyor’s fear: “Everywhere along the road, behind the bushes, police officers and cellmen are bumped into... By... by... wait!” or “Why are you always looking around and moving as if on pins and needles? I, brother, that’s it... brother... There’s nothing to look back at me... there’s nothing interesting about me...” And the repetitions here play a different role, showing how the land surveyor even stutters out of fear.

Composition
Determine the elements of the composition of A.P. Chekhov’s story “Over-Salted”: beginning, development of action, climax, development of action, denouement.
1. The surveyor arrived at the Gnilushki station. A land surveyor is looking for horses to travel to the estate. (Commencement)
2. The surveyor and the driver set off on their journey. The land surveyor got scared and started lying. (Development of action)
3. The surveyor lies more and more, and the driver runs away. (Over salted.) Climax
4. The land surveyor persuades the runaway driver to return. (Development of action)
5. The surveyor and the driver continue their journey. (Decoupling)

The features of Chekhov's short stories are a double denouement (we introduce this concept by giving its descriptive characteristics and simultaneously naming the term) and a circular composition. Are such techniques typical for the story “Over-Salted”?
If students find it difficult to answer, we formulate the question differently: where could the story end? Turning to the plot plan, we find out: one would expect that the story would end with the episode of the driver’s flight into the thicket, because the anecdotal situation was resolved. But the action of the story continues: the land surveyor, who had just been desperately cowardly next to the “biggest guy,” now behaves differently, and we hear his words: “Klimushka! Darling!”, “Do me a favor, let’s go!”

Interesting and ending of the story, wrapped in contrast to the beginning: again, as in the second part, the process of starting the cart is described in detail. Let’s ask the guys how the land surveyor reacts to this action each time, and during the conversation we’ll find out: if the first time the shaking and snail-like ride caused the hero to feel anxiety and mistrust, now “the road and Klim no longer seemed dangerous to him.”

V. Lesson summary.

Our lesson is coming to an end.
Guys, what new did you learn today? Did you like today's lesson? Are you interested in Chekhov's work? Will you read his other humorous stories?
Thank you for your activity.

VI. Homework.

FINAL CERTIFICATION WORK

Pedagogical project “Development of oral speech in literature lessons”

Completed: Isachenko Ekaterina Ilyinichna,

graduate of professional courses

retraining in the direction

"Fundamentals of pedagogical activity"

CONTENT

Contents………………………………………………………………………………… 2

Introduction…………………………………………………………………………………...…. 3-5

Description of the project…………………………………………………………………………………...…… 6-10

Assessing the success of the project……………………………………...…… 11-19

Conclusion………………………………………………………………………………...….. 20

References……………………………………………………………………………………… 21

INTRODUCTION

Project passport

Project implementation site

Teacher of Russian language and literature Isachenko E.I.

Project hypothesis

Purposeful, consistent and systematic work on teaching schoolchildren oral speech will be effective if an appropriate system of exercises for the development of oral speech is used in the learning process.

Project goals and objectives

The goal is to introduce a system of tasks and exercises to develop students’ speaking skills.

Study the methodological basis on the problem identified in the project topic;

Identify the role and significance of the development of oral speech skills in the educational process;

Select exercises and tasks for the development of students’ oral speech in literature lessons.

Project participants

Students of grades 5-8, teachers of Russian language and literature

Strategy and mechanisms for achieving set goals (stages of the project, main work in the project)

The project involves the introduction of exercises and tasks, both those proposed by the teaching materials and additional ones, corresponding to four stages: 5th grade, 6th grade, 7th grade, 8th grade

Predicted short-term and long-term results of the project implementation

Formation of oral speech at one of the stages of the project - short-term result, long-term result - assessment of the formation of oral speech based on the results of the project, at the end of 8th grade

Indicators and criteria for project success

The ability to clearly, in accordance with the norms, express one’s thoughts will be assessed during summing up events (finalizing the section of seminars, colloquiums, conferences) and performing current everyday tasks (prepared oral messages, answers to an oral survey, during a conversation, analysis of a controversial situation and etc.)

Further development of the project

Selection of exercises and tasks for students in grades 9-11

Practical significance of the project

The material can be used to improve work in literature lessons with middle school students

The problem of developing students' oral speech is becoming increasingly relevant these days. Mastering speech is a necessary condition for the formation of a socially active personality. Speech is the most important indicator of a person’s spiritual culture. Speech is inseparable from a person’s moral and ethical beliefs and behavior. Philosophers and orators of the past associated true eloquence with the high moral level of the speaker. Therefore one A one of the most important tasks at the present stage of student education- development of speech activity.

Developing students' oral speech means helping it to be more logical, accurate, expressive and imaginative. And if all the lessons make a student’s speech logically correct, accurate and meaningful, little by little, then expressiveness and imagery, emotionality, coherence and intonation richness are acquired to a greater extent thanks to literature lessons.

When I first came to school, I was faced with the problem of insufficient development of oral speech among 5th grade students in literature lessons. From elementary school, children brought the understanding that during literary reading lessons one must read expressively. And for a long time they could not and did not want to understand that literature is not literary reading, that one must read a lot at home, that one must learn to analyze and competently express one’s thoughts both orally and in writing.

The relevance of the project is related With the increasing role of the spoken word in the cultural life of the country, the ability to competently express one’s thoughts is very valuable in the modern world. D Children need to be taught to construct coherent oral statements in order to increase their communicative competence.

The object of the project is the process of developing students' speaking skills.

The subject of the project is a system for developing the oral speech skills of schoolchildren.

The goal of the project is to develop a system of tasks and exercises to develop students' speaking skills.

The hypothesis of the project is the assumption that purposeful, consistent and systematic work on teaching schoolchildren oral speech will be effective if an appropriate system of exercises for the development of oral speech is used in the learning process.

The set goal, subject and hypothesis of the project involved solving the following main tasks:

- study the methodological basis on the problem identified in the project topic;

- identify the role and significance of the development of oral speech skills in the educational process;

- select exercises and tasks for the development of students’ oral speech in literature lessons.

The participants of the project are students of grades 5-7, teachers of Russian language and literature. The practical significance of the study is determined by the material (the developed system of exercises), which can be used to improve work in literature lessons with middle school students.

PROJECT DESCRIPTION

The development of students’ speech culture is the most important direction in the theory and practice of literary education. F.I. made a great contribution to the development of the problem. Buslaev, V.Ya. Stoyunin, V.P. Ostrogorsky, V.P. Sheremetevsky, V.V. Golubkov, A.D. Alferov, M.A. Rybnikova, N.M. Sokolov, S.A. Smirnov, N.V. Kolokoltsev, modern scientists K.V. Maltseva, M.R. Lvov, T.A. Ladyzhenskaya, V.Ya. Korovina, N.A. Demidova, T.F. Kurdyumova, N.I. Kudryashev, M.V. Cherkezova and others.

The works of leading methodologists became a prerequisite for the development of a comprehensive system for developing students’ speech in Russian language and literature lessons. The convergence of literary and speech development is the most important condition for comprehending literature as the art of words. Speech abilities are similar to literary ones and are part of them (the ability to think in verbal and artistic images, the ability to independently create texts and speech works).

In the problem of speech development of students, psycholinguistic, linguodidactic and methodological-literary approaches are distinguished.

The acquisition of language and speech most effectively occurs in the process of communication. A lesson is a multifaceted communicative system, interpersonal interaction within the student body, integrated into the interaction between the teacher and students.

Pedagogical communication in a literature lesson has a unique content. Literature itself is a form and means of communication and requires the organization of communicative conditions. Ideas and images of a work of art are perceived and comprehended in the form of aesthetic experience. The aesthetic perception of a work in the process of studying it should increase as it deepens and become more conscious.

The design of literature classes is in many ways similar to the psychological laws that determine the creative process in art. A literature teacher designs a lesson in such a way that takes into account the degree of emotional resonance that certain fragments of a literary text have when studied in class. The holistic emotional picture becomes manageable. The teacher, based on the general objectives of teaching and upbringing and the specific goals of this lesson, gets the opportunity to regulate and evoke the necessary reaction of students to what they read. The emotional “infection” of schoolchildren is carried out in an atmosphere of collective artistic perception, the interchange of aesthetic emotions.

Interpersonal communication is not only a science, but also an art. Preparedness for it is determined not only by acquired logical knowledge, but also by intuition and emotional sensitivity. Communication involves responding to suddenly emerging circumstances; it requires improvisation from the teacher and the ability to make lightning-fast decisions. However, intuition without an objectively conceived model of communication cannot bring the desired success. The teacher is required to work long and continuously to improve his own communicative and performing skills. Without working on oneself in terms of developing a communicative and creative culture, it is impossible to organize proper pedagogical interaction with children.

The communicative approach to teaching literature is one of the most important means of ensuring students’ productive perception and understanding of works of art. The effectiveness of a language teacher’s work depends on his ability to create an atmosphere of universal aesthetic experience in classes on his subject. The language teacher organizes the educational activities of schoolchildren and their communication; manages these processes; “infects” schoolchildren with aesthetic emotions, which serve as a necessary condition for comprehending art and a key means of artistic-pedagogical interaction. In a situation of aesthetic communication, interpersonal relationships are activated, due to which communication between teacher and students in a literature lesson serves as the foundation for a directed and organized process of teaching literature.

The linguodidactic approach guides teachers and schoolchildren towards developing the ability to purposefully construct speech works that have certain stylistic features. To develop and improve speech-making skills, exercises are offered, the implementation of which helps to increase the level of linguistic and literary creativity of schoolchildren.

The leading principle of organizing work to improve students' speech activity is the inextricable unity of this work with the analysis of a work of art, with intellectual, moral and artistic-aesthetic development - the formation of a spiritual personality in a broad sense. This is a fundamental position arising from philosophical and linguistic understanding, outlined in the works of V.V. Golubkova, M.A. Rybnikova, N.V. Kolokoltsev, who warned teachers against a formal approach to classes to improve the speech culture of schoolchildren, and against distracting them from work on literary education and moral and aesthetic education.

The teacher’s task is to organize the students’ life and literary experiences. If the encounter with the work excites you, a source of thoughts and feelings will appear, which will become a stimulus for the verbal formulation of experiences and reasoning.

The development of speech should take place on the basis of speech activity - an active, purposeful process of creating and perceiving statements.

Principles of development of speech activity:

1) the interaction of the moral, intellectual, artistic, aesthetic and speech development of the student;

2) the organic relationship of work on speech development with all components of literature classes;

3) a variety of methodological forms and techniques;

4) maintaining continuity of speech development with previous classes;

5) practical orientation of work on speech development and bringing it closer to real life situations and forms of art;

6) systematic nature of the work;

7) taking into account interdisciplinary connections.

– systematic (work on speech development is mandatory when studying any topic, observing the age sequence);

–

– continuity of content and varieties of students’ speech activity (from reproducing a text to their own creativity; from mastering a genre of utterance in oral speech to its written embodiment; from speech genres based on life impressions to statements on literary topics, essays on art);

– practical orientation of the work (working on specific speech skills);

–

enrichment of vocabulary - vocabulary and phraseological work with the text of a work of art and literary critical materials;

improving the coherence of speech - retellings, presentations; various types and genres of monologues on literary topics (comments on the text, written answers to questions; plans; essays; reasoning, remarks in heuristic conversation);

training in expressive speech - expressive reading;

teaching the logic of thinking and the logic of speech - working on a textbook article, literary critical articles; messages and reports, conceptual presentations at seminars;

enrichment of speech in an emotional and figurative sense - analysis of visual and expressive means, stylistic tasks, artistic retelling, oral verbal drawing, drawing up a film script.

To achieve the set goal - to introduce a system of tasks and exercises to develop students’ speaking skills; and the implementation of the project “Development of students’ oral speech in literature lessons”, it is necessary to create a coherent system.

Literature lessons should give the language of schoolchildren an emotional coloring, make their language more subtle and demanding in the sense of conveying all kinds of shades in the surrounding life. This position can be taken as a basis for identifying the stages of the project:

a) Formation of oral speech for all students at the level of creating reproductive statements (reproducing and creative retellings of literary texts, retellings of textbook articles, fragments of literary studies and literary critical articles, etc.) (V grade);

b) Formation of oral speech in all students at the level of creating reproductive statements (reproducing and creative retellings of memoirs and epistolary materials), productive statements (detailed oral response, message, report; literary review, critical sketch, story or report on a work of art, etc.) d.) (VI grade);

c) Formation of oral speech in all students at the level of creating productive statements (critical essay, “a word about the writer,” a guide’s speech, a director’s commentary, a speech about the hero of a work, oratory, reportage, etc.) (VII grade);

d) Formation of oral speech in all students at the level of creating productive statements (poems, stories, essays, plays independently composed by schoolchildren; an artistic biographical story, a story about a literary event, an artistic sketch, etc.) (VIIIclass).

The work plan for the project implementation is determined by the project objectives.

Studying materials on the project topic in theory;

Determining the strategy and mechanisms for achieving the project goal;

Drawing up a work plan;

Determination of project results;

Selection of tasks and exercises that correspond to the stage of the project (one of four) and the developmental characteristics of students in the class;

Identification of criteria for the success of the project;

Identification of risks threatening the implementation of the project;

Identification of further development of the project.

In accordance with this structure, it is possible to determine the short-term results of the project - the results achieved at one of the stages; and long-term results - at the end of the entire project, at the time the children complete their education in 8th grade.

Selected and improved in practice in a specific class, tasks and exercises in the middle level of literary education will create a good prospect for continued work and development at the senior level.

ASSESSMENT OF PROJECT IMPLEMENTATION SUCCESS

Improving speech activity in the process of literature classes is based on the principles:

systematicity;

a variety of methodological forms and techniques that stimulate creative speech activity of students;

continuity of content and types of speech activity of students;

practical orientation of work;

taking into account interdisciplinary connections between literature, language, history, MHC, etc.

To develop and improve speech-making skills, exercises are offered, the implementation of which helps to increase the level of linguistic and literary creativity of schoolchildren. These are exercises to implement the role principle of speech development; exercises with elements of the development of productive artistry of speech, artistic criticism skills, aesthetic analysis of the text, the creation of director's remarks and other interpretive techniques.

Thus, work on speech development should be carried out in a system so that each educational work represents a step forward from what has already been learned, from simple to complex. Work on speech development in high school includes the development of the following skills:

1. Comprehend the topic, respecting its boundaries;

2. Make a plan for the statement;

3. Select material related to the creation of a statement;

4. Present the material consistently;

5. Collect material and systematize it;

6. Construct your statement in a certain genre;

7. Use various synonymous means of language;

8. Make notes and theses;

9. Make a message, report, speech.

Based on this, various types of exercises are distinguished: word interpretation, grouping by topic, analysis of sample texts, composing phrases, sentences, coherent text.

The methodology for teaching literature puts forward the following techniques as the main directions of work on developing the speech of schoolchildren:

enrichment of vocabulary (vocabulary and phraseological work with the text of a work of art and literary critical materials);

improving the coherence of speech (retellings, expositions; various types and genres of monologues on literary topics (comments on the text, written answers to questions; plans; essays; reasoning, remarks in heuristic conversation);

training in expressive speech (expressive reading);

teaching the logic of thinking and speech (work on a textbook article, literary critical articles; messages and reports, conceptual presentations at seminar classes);

enrichment of speech in an emotional and figurative sense (analysis of visual and expressive means, stylistic tasks, artistic retelling, oral verbal drawing, drawing up a film script).

Modern children have a hard time understanding classical works due to the fact that they do not know the vocabulary of that time. Often, today's students cannot explain the meaning of words that adults understood when they were in school. UMC on literature V.Ya. Korovina gives the meaning of unclear words in the footnotes, but not all of them. Therefore, it is necessary to carry out vocabulary and phraseological work on a much larger scale than is proposed by the teaching and learning complex. Students keep dictionaries of literary terms. Is it advisable to also keep separate dictionaries for such obscure words? I don't think so. Modern students are children with clip-based perception of information. Pictures and infographics are easier for them to perceive and remember. Therefore, dictionary and phraseological work must be accompanied by a presentation in which a link is attached to each new or incomprehensible word, opening a separate slide with an interpretation of the word and an example of its use in other texts. Of course, with the obligatory pronunciation of the word and its meaning by students.

The most important technique that facilitates the assimilation of the content of a work and the development of speech by middle school students is retelling. There are types of retellings:

1) free (based on the first impression and conveying it as a whole);

2) artistic (close to the author’s text, not only conveys the content in detail, but also reflects the artistic features of the text);

3) short/concise (presentation of the main content of what was read, the logic and style of the original text are preserved, but details are omitted);

4) selective (based on the selection and transmission of the content of individual text fragments united by one topic);

5) retelling with a change in the narrator’s face (presentation of the content from the perspective of one or another character, from a third person).

The student must master each of these types. Often, students overlook important details, trying not to lose the thread and not get away from the content. And Mazepa can be called Maria’s boyfriend quite seriously. Therefore inV- VIIn classes, it is necessary to turn to the retelling of texts read independently as often as possible. And gradually complicate the retelling in high school.

Widespread types of oral monologue by students in literature lessons are reports and messages. Reports and messages that develop orientation in the search and selection of material, developing one’s own judgment, the ability to write a review of a book read, a film watched, a play, are most effective in lessons on speech development. Schoolchildren perform with them when studying review topics, in classes on the biography of a writer, when analyzing works of art, in final-summarizing classes, and extracurricular reading lessons. According to the purpose and methods of organizing the material, reports can be divided into informative, research and problem-discussion. And use them to increase the complexity of the preparation in accordance with the level of development of the class.

In literature classes, three types of expressive reading are used: expressive reading by the teacher; students' expressive reading; reading the masters of the sounding word.

The teacher's expressive reading usually precedes the analysis of the work and is the key to its understanding. Often a good reading from a teacher will provide more insight than a thorough review. N.V. Gogol, in his article “Reading Russian Poets Before an Public,” emphasized: “Reading a lyrical work properly is not a trifle; for this you need to study it for a long time. One must sincerely share with the poet the high feeling that fills his soul; you need to feel every word of it with your soul and heart.”

Student performance concludes the analysis and serves as an indicator of the depth of penetration into the text. In each class, the program includes works that students learn by heart. The development of a culture of reading poetry and literary prose is a complex and lengthy process. The work must be carried out systematically. Preliminary training exercises are important: reading one sentence with different intonation, reading after a model, listening to several different performances of one work and discussing their manner, reading competitions.

The opportunity to listen to the work performed by an actor is very important here. Appendix to the teaching materials of V.Ya. Korovin is a phonochrestomathy - audio recordings of works available in a regular anthology. And electronic educational resources posted on the Internet also offer various options for expressive reading of poetic and prose works. Students in my classes enjoy participating in expressive reading competitions. Unfortunately, they are almost never carried out at the level of educational organizations. Over three academic years, two municipal competitions were organized, and I was able to participate in one of them after passing the school selection process. At the classroom level, we hold such events approximately twice a year, upon completion of sections of poems about native nature and the Great Patriotic War. The class is divided into groups: readers, judges, critics. A photographer is required for such an event. Each student works in accordance with his assignment; there are no those who do not participate in the competition in any way. The teacher observes the progress of the competition, the readers perform, the jury members fill out evaluation sheets and count the amount of points scored, express their opinion about the expressive reading of the contestants, critics note successful moments and shortcomings in the reading. This competition ends with the presentation of diplomas to the winners and certificates to the participants.

Learning expressive reading is facilitated by oral verbal drawing (description of pictures that arise in the imagination); choral reading (in unison, in a single intonation key); collective recitation (different parts of the text by different students); reading in person, by role (fables, dialogues in epic works).

V.V. Golubkov closely connected the foundations for the formation of oral speech among schoolchildren with the theory and practice of oratory. Determining the features of oral speech (living expressive word, improvisation, spontaneity of communication between the speaker and the audience).

Literature lessons have great opportunities for dialogue forms. For example, for organizing role-playing dialogues: meetings of literary characters, dialogues of literary critics, etc. Role-playing (game) dialogues increase students' interest in reading and studying literature and stimulate speech activity.

Students are introduced to the patterns of dialogic speech and mastery of dialogue techniques through the analysis of episodes of literary works containing dialogues, taking into account already acquired knowledge (type of dialogue, speech styles, communication situation, etc.).

To develop speech, reproduction of the dialogue of literary characters is used. By reproducing the conversation of literary characters, students intensively enrich their vocabulary through the use of the vocabulary of a given literary text and organically combine it with vocabulary that they speak fluently. Reproduction, rather than simple retelling, of the dialogue of characters stimulates the emotional expressiveness of speech, the ease of their communication, and this also facilitates the assimilation of a literary text.

Stimulation of speech activity is also carried out by an active influence on the thoughts and feelings of students, which can be achieved by conducting a non-standard lesson. These are debates, concerts, seminars, quizzes, etc., which have a common task that unites them - instilling interest in learning in general and literature lessons in particular. Among the effective ones are the following techniques for developing oral speech in literature lessons.

Poetic five minutes. At the beginning of each lesson, one or two students read poems that they have memorized or prepared for expressive reading; read or retell an excerpt from the text of a work of art they like. The use of poetic five-minutes introduces students to the poetics of their native language, develops the aesthetic taste of students, and forms a linguistic culture. Even when passively listening to poetic texts read by others, children acquire skills in perceiving poetic texts, which has a positive impact on their study of literature in general.

In addition to starting the lesson with a five-minute poetic session, you can get the kids excited about literature with a brief retelling of a book they recently read, outside of the school curriculum. A teacher can offer such a beginning, “infecting” many reading children with an emotional story. Of course, there are few such people, since modern children prefer entertainment to mental work, including reading. But with appropriate stimulation, approximately half of my class, for example, will want to get involved in such work.

Advance homework. The essence of using advanced tasks in a literature lesson is that the most prepared children are asked to complete a task, the content of which will be updated in the following lessons. The student must independently build the logic of an oral response, select from the proposed literature the most interesting, from his point of view, facts and examples, and prepare a short, but emotional and meaningful message.

A discussion conversation between the characters of a literary work. The discussion takes place between two heroes of the work, played by students. The children figuratively imagine themselves as characters in the work who have entered into a dialogue, argument, or discussion. They defend the point of view of the hero they represent. The rest of the students do not just passively listen, but answer the question posed before the start of the discussion.

With the help of a discussion conversation between the characters of a literary work, students are introduced to research work on the text, the ability to construct detailed speech statements is formed, and the ability to confront one’s opponent not only in literature lessons, but also in everyday life. It is important that the guys come to the realization that the main thing in the discussion is to find the truth, and not to satisfy their pride.

Acting out and analyzing speech situations. At the beginning of the lesson, before discussing the key issue on this topic, three or four students, preferably inactive, are given task cards that contain certain material for reflection (a statement by a famous person, an interpretation of literary phenomena, a memoir, etc.) a question is raised that requires assessment and expression of one’s own position. The speaker follows the progress of the discussions and independently enters into the discussion at the right and convenient moment. When speaking, the student can quote the card material or retell it in his own words, or refer to it, accompanying it with his own reasoning.

Meeting of the literary critics club. The content and organization of the meeting of the club of “literary critics” is prepared by the student most capable of literature, elected chairman of the “club”; the teacher provides him with the necessary assistance in planning and selecting material. The study group is familiarized in advance with the list of works to be discussed. While reading the works, students write down questions they have that they would like answered at a club meeting. The chairman distributes received questions in advance among the speakers, who must include them in the context of their statements.

The use of simulation exercises in literature lessons contributes to the further development of students’ intellectual and speech skills when preparing various genres of statements. At the same time, the guys try to give their speech such qualities as accuracy, logic, relevance, accessibility, brevity, and euphony.

Oral analysis of the psychological portrait of a literary hero. The children are invited to supplement the literary portrait with their own description, characterizing the psychological state of the hero and, on this basis, prepare a coherent oral presentation. At the end, students make oral statements.