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Content

Introduction
Chapter 1. Review of literature on the problem of development of a preschool child through fairy tales
1.1 Fairy tale as a folklore genre, types of fairy tales and the pedagogical potential of folk tales
1.2 Development of the emotional sphere of preschool children through folk tales
1.3 Control diagnostics
Conclusion
Bibliography
Applications

Introduction

Relevance. The pedagogical experience of many generations provides a rich arsenal of folk educational wisdom, which is contained in fairy tales, games, rituals, riddles, proverbs, etc. Every nation wanted to see their descendants in such a way that they could be proud of them: honest, kind, brave, hardworking, etc.

The pedagogical role of fairy tales was presented most generally in his works by V.A. Sukhomlinsky. He used them effectively in the educational process. The great democratic teachers of the past, including Ushinsky, included fairy tales in their educational books and anthologies.

An object research - the pedagogical potential of fairy tales.

Item research - a methodology for using fairy tales in the educational process in a preschool educational institution for the purpose of the emotional development of preschool children.

Target This work is to identify the role of fairy tales in the mental development of a preschool child.

In accordance with the set goal, we formulate a number of tasks:

1. Conduct a review of the literature on the problem of development of a preschool child through fairy tales.

2. Reveal the pedagogical potential of a folk tale.

3. To identify the peculiarities of the perception of fairy tales by preschoolers, the influence of fairy tales on the motivational component of the child’s psyche, the influence of fairy tales on the formation of emotional experiences, on the development of imagination and aesthetic feelings of children.

4. Show the influence of fairy tales on the sociocultural development of a preschool child.

5. Conduct experimental work on the development of the emotional sphere of older preschoolers using folk tales.

6. Select methods for studying the emotional sphere of older preschoolers and test them in practice - to identify the level of development of the emotional sphere of older preschoolers.

7. Develop and test activities for the development of the emotional sphere of older preschoolers through a folk tale.

8. To check the effectiveness of using fairy tales in the development of the emotional sphere of older preschoolers.

Chapter 1. Review of literature on the problem of child development

preschool age through fairy tales

1.1 Fairy tale as a folklore genre , types of fairy tales and pedagogical

folk tale potential

fairy tale pedagogical preschooler

“Literature is genetically connected with mythology through folklore,” noted E.M. in his work “Classical Forms of Myth.” Meletinsky. In the chronological period from ancient times to the present day, folklore occupies an intermediate position and is a connecting link.

Works of ancient Russian literature, but mainly folklore, became the main object of study by scientists who formed the mythological school in Russian literary criticism.

In the first third of our century, the scientific literature on fairy tales was not very rich; most of the texts were published, quite a lot of works on specific issues and relatively few works of a general nature.

It is clear that before elucidating the question of where a fairy tale comes from, it is necessary to answer the question of what it is. Correct classification is one of the first stages of scientific description. The correctness of further study also depends on the correctness of the classification. Different types of fairy tales differ not only in external features, the nature of the plots, heroes, ideology, etc., they may also be different in their origin and history and require different methods of study. Therefore, correct classification is of paramount scientific importance. Meanwhile, we are forced to admit that in our science there is still no generally accepted classification of fairy tales. This happens because the decisive feature that could serve as the basis for division has not been found.

Different types of fairy tales differ not only in external features, the nature of the plots, heroes, ideology, etc., they may also be different in their origin and history and require different methods of study. Therefore, correct classification is of paramount scientific importance. Meanwhile, we are forced to admit that in our science there is still no generally accepted classification of fairy tales. This happens because the decisive feature that could serve as the basis for division has not been found.

The most common division of fairy tales is division into fairy tales with wonderful content, everyday fairy tales, fairy tales about animals. (Suggested by W.F. Miller). This classification essentially coincides with the classification of the mythological school ( mythical, about animals, everyday). The question arises: don’t fairy tales about animals contain an element of the miraculous, and vice versa?

Further attempts provide essentially no improvement. So, for example, in his famous work “Psychology of Nations” Wundt proposes the following division:

1) Mythological tales - fables

2) Purely fairy tales

3) Biological tales and fables

4) Pure animal fables

5) Tales of “origin”

6) Playful tales and fables

7) Moral fables

This classification is much richer than the previous ones, but it also raises objections. Fable is a formal category. What Wundt meant by this is unclear. The term “playful” fairy tale is generally unacceptable, since the same fairy tale can be interpreted heroically, comically, etc.

In 1924, a book appeared about the fairy tale of Odessa professor R.M. Volkova. Volkov, from the very first pages of his work, determines that a fantastic fairy tale knows 15 plots 1 Propp V.Ya. Collection Tr. Morphology of a fairy tale. Russian fairy tale. - M., 2000. - p. 49. :

1) About the innocently persecuted

2) About the foolish hero

3) About three brothers

4) About snake fighters

5) About getting brides

6) About the wise maiden

7) About the cursed and enchanted

8) About the owner of the talisman

9) About the owner of wonderful objects

10) About an unfaithful wife, etc.

How these 15 plots are established is not specified. If you look closely at the principle of division, you get the following: the first category is established according to the plot, the second - according to the character of the hero, the third - according to the number of heroes, the fourth - according to one of the moments in the course of the action, etc. Thus, there is no principle of division at all, and the result is truly chaos. This classification is not scientific in the precise sense of the word; it is nothing more than a conventional index, the value of which is very doubtful.

We must recognize the system of A.N. as the best of the existing attempts. Afanasyeva. Afanasyev followed an empirical path and identified the main categories:

Tales about animals.

Tales about people:

a) magical

c) novelistic (including jokes).

Afanasyev did not single out a category that was established only in recent years - cumulative, or chain-shaped fairy tales, such as “Kolobok”. Thus, there are only four large digits:

1. Fairy tales about animals - the main characters in fairy tales are animals.

2. Magical - fantastic tales in which there is magic.

3. Novelistic - realistic or everyday. They depict pre-reform peasant life, without any signs of magic. There is the supernatural, but it is drawn into everyday life and is always colored comically (The Tale of the Priest and his worker Balda).

4. Cumulative - they do not contain any interesting “events” of the plot order. It is characterized by multiple, ever-increasing repetitions of the same actions, until the created chain breaks or unravels in reverse descending order (Repka).

A more detailed systematization was proposed by the Finnish scientist Antti Aarne. He took several large European collections and established the stories contained in them. Aarne called repeating plots types of fairy tales. He compiled a catalog of types and published it in 1910 under the title Index of Fairy Types. Each type is given in a brief, schematic retelling. Each type of fairy tale received a name and number. The type number is a code, i.e. a conventional sign denoting a fairy tale, regardless of what language it is written in. Aarne rendered an invaluable service to world science. It is enough to look at the catalog compiled according to the Aarne system, and now you can establish whether a given fairy tale is in the archive or not, and if so, in which folder, in which collection and on which page it can be found.

These are the advantages of the Aarne pointer. But along with these advantages, there are also a number of disadvantages. Aarne never defined what is meant by type. (Russian science does not use this term.) On the one hand, Aarne meant a series of fairy tales, united by the common character of the character. On the other hand, type is sometimes understood as small fractional motives.

Another drawback of this index is the lack of consistency in the classification and its inapplicability to the material. So, fairy tales are divided into categories:

1) Wonderful opponent

2) Wonderful husband (wife)

3) Wonderful task

4) Wonderful helper

5) Wonderful item

6) Miraculous power or skill

7) Other wonderful motives

Outwardly, everything looks very harmonious and logical. In fact, this classification is based on criteria that are not mutually exclusive. For example, a miraculous task is usually solved with the help of a miraculous helper.

In relation to this classification, objections to Volkov’s classification can be repeated almost verbatim. True, Aarne does not strive to create his own scientific classification: his index is important as a practical reference and as such it is of great importance. But Aarne's index is dangerous in other ways: the closeness of the plots to each other and the impossibility of a completely objective delimitation leads to the fact that when classifying a text as one or another type, you often do not know which number to choose.

Works by V.Ya. Propp are of enormous importance for the study of fairy tales. Based on the experience of his predecessors, V.Ya. Propp derived a constant, indivisible morphological unit of a fairy tale - the function of the characters.

For comparison, V.Ya. Propp identifies the components of fairy tales according to special techniques and then compares the tales according to their components. The result will be morphology, i.e. description of a fairy tale by its component parts and the relationship of the parts to each other. A fairy tale often attributes the same actions to different characters. This gives us the opportunity to study a fairy tale based on the functions of the characters. Research shows that the repeatability of functions is amazing. The very way in which functions are implemented can change: it represents a variable value. The functions of the actors represent those components with which motives can be replaced. There are extremely few functions, but there are extremely many characters. This explains the dual quality of a fairy tale: on the one hand, its amazing diversity, on the other, its no less amazing monotony.

So, the functions of the characters represent the main parts of the tale. To highlight functions, they must be defined.

I. The constant, stable elements of a fairy tale are the functions of the characters.

II. The number of functions known to a fairy tale is limited.

III. The sequence of functions is always the same

IV. All fairy tales are of the same type in their structure.

The fairy tale knows the following circles of action 2 Propp V.Ya. Historical roots of fairy tales. - M., 2000. :

1. The range of actions of the antagonist (pest) covers: sabotage (A), combat or other forms of struggle with the hero (B), pursuit (Ex.)

2. The range of actions of the donor (supplier) covers: preparing the transfer of a magical remedy (B), supplying the hero with a magical remedy (Z).

3. The range of actions of the assistant covers: spatial movement of the hero (R), elimination of trouble or shortage (L), salvation from persecution (Sp), resolution of difficult problems (P), transfiguration of the hero (T)

4. The range of actions of the princess and her father includes setting difficult tasks (Z), branding (K), denunciation (O), recognition (U), punishing the second pest (N), wedding (S)

5. The range of actions of the sender covers only the sending (connecting moment)

6. The hero’s range of actions covers going on a quest (C), responding to the donor’s demands (D), and a wedding (C)

7. The range of actions of the false hero also covers going on a quest (P), reacting to the demands of the donor (G) - always negative (Gneg) and deceived claims (F).

So the fairy tale knows seven characters. The functions of the preparatory part are also distributed according to these same characters, but the characters cannot be determined by these functions. In addition, there are special characters for connections, as well as special traitors.

Distribution of the designated circles according to individual fairy-tale characters:

1) The range of actions exactly matches the character

2) One character covers several circles of actions

3) One circle of action is distributed over several characters

Living beings, objects and qualities, from the point of view of morphology, built on the functions of the characters, should be considered as equivalent quantities.

In Propp’s conceptual works, firstly, the previously insoluble problem of correct classification of a fairy tale was resolved, and, secondly, the myth about the boundless world of a fairy tale was dispelled, since using Propp’s method, you can write down any fairy tale, regardless of its size , in the form of a simple formula.

In addition, it has been proven that the study of fairy tales is a science no less complex than, for example, biology. The study of a fairy tale requires perhaps even more effort from the researcher than any other science. Too little work has yet been written in this area, compared to other sciences.

Turns out, in a fairy tale, not everything is possible from a child’s point of view. And if the realism and plausibility of the fairy-tale narrative is violated, this causes displeasure on his part.

A child brought up on a folk tale feels the limit that imagination in art should not exceed, and at the same time realistic criteria for aesthetic assessments begin to develop in him. In a fairy tale, especially a fairy tale, much is allowed. Characters may find themselves in the most extraordinary circumstances. Animals and even inanimate objects in it speak and act like people, performing all sorts of tricks. But all these imaginary circumstances are needed only for objects to reveal their true, real properties.

If the typical properties of objects and the nature of the actions performed with them are violated, the child declares that this fairy tale is wrong, that this does not happen. Here, that side of aesthetic perception is revealed, which is very important for the development of a child’s knowledge of the surrounding reality, since a work of art not only introduces him to new phenomena, expands the range of his ideas, but also allows him to highlight the essential, characteristic in the subject.

A realistic approach to fairy-tale fantasy is developed in a child only at a certain stage of development and only as a result of upbringing. Only in middle preschool age does a child begin to confidently judge the merits of a fairy tale, based on the plausibility of the events depicted in it. Older children become so strengthened in their realistic position that they begin to love all sorts of “shifters.” By laughing at them, the child discovers and deepens his correct understanding of the surrounding reality.

Thus, the perception of a fairy tale contributes to the child’s knowledge of objective reality .

However, aesthetic perception is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. It requires the perceiver to somehow enter into imaginary circumstances, mentally take part in the actions of the heroes, and experience their joys and sorrows. This kind of activity expands the sphere of a person’s spiritual life and is important for his mental and moral development.

What attracts a child to a fairy tale? An important change is taking place in motivational sphere during the transition from preschool age to preschool age.

In their manipulative games, children are mainly interested in the procedural aspect. In their games they reproduce certain actions of an adult: they show how they rock children to sleep, how they sweep the floor, how they drag a cart, and they can endlessly repeat all this with unflagging interest.

However, already on the threshold of preschool age, the child is no longer satisfied with the simple reproduction of objective actions.

N.M. Sklyarenko, who observed the games of 3-year-old children who had just moved to kindergarten from a nursery, found that in cases where the child himself cannot cope with the difficulties that have arisen, it is necessary to help him find new motives for play that would give meaning to his individual actions.

It’s not interesting to rock a doll endlessly, but if you start a game in a nursery, where there are a lot of children whose dads and moms are busy at work, then it takes on a whole new meaning. It's boring to push a cart back and forth to no avail, but if it's used to carry milk from the store for children in a nursery, it makes for an interesting game. What is remarkable about the game is that the technique for implementing individual actions may be imperfect, “not real”, imaginary, but its motives are real, deep and require a serious attitude on the part of the teacher.

In preschool age it happens complication of activities: what the activity is aimed at and what it is performed for are no longer identical, as they were at an early age. The social significance of certain human actions, their inner meaning, acquires decisive importance for the child.

New motives of activity, formed in the general course of the child’s development, as a result of his upbringing, for the first time make possible a real understanding of a work of art, insight into its ideological content. In its turn, the perception of a work of art influences the further development of these motives.

In some cases, such a unique attitude of a child to art leads to judgments and actions that are unexpected from the point of view of an adult. Children demand, for example, that the story be rewritten if the ending seems unfair to them, they change the text when retelling it, spoil illustrations, staining or scratching out images of negative characters.

A small child is very captivated by the colorful descriptions or the amusingness of the external situations in which the characters find themselves, but very early on he also begins to be fascinated by the internal, semantic side of the story. Gradually it opens up to him ideological content of a work of art.

In order for a child to realize something, it is necessary that he be active, it is necessary that he begin to act in relation to the cognizable object. Playing and listening to fairy tales create favorable conditions for the emergence and development of this still fragile new form of mental activity in a child.

Here, as it were, transitional forms are created from real actual action with an object to thinking about it. When a child begins to master this new form of activity, new possibilities open up for his knowledge.

He can comprehend and experience a number of events in which he did not directly participate, but which he followed through an artistic narrative. Some provisions that do not reach the child, being presented in a dry, rational form, are understood by him and deeply touch him when they are put into artistic form.

If younger children do not yet have sufficient awareness of the motives, their attitude towards the character, and they simply declare that this one is good and that one is bad, then older children already justify their assessments, pointing to the more general, social significance of this or that action.

Here there is a completely conscious assessment of not only external actions, but also the internal qualities of a person - an assessment based on high, socially significant motives.

Thus, under the influence of an artistic narrative, the child not only develops new ideas about certain phenomena of reality, but he begins to relate to them in a new way and evaluate them in a new way.

Studies of fairy tales immerse us in the ancient symbolism of myths, traditions, legends, fairy tales, epics and sagas; allow you to recognize the psychological meaning of metaphors, feel the archetypal nature of problematic and creative human manifestations, explore the origin of many “catchphrase” expressions, see what associative chains give rise to various myths and tales in the unconscious, and much more.

The most effective way to use a fairy tale to develop children's imagination is to dramatize it. In dramatization games based on the plots of folk tales, the child acts either as an object or as a subject of communication, absorbing the wisdom of his ancestors from their content.

The fascination of the plot, imagery and fun make fairy tales a very effective pedagogical tool. The plot of works for children should, if possible, strive for simplicity, the plot for complexity. Fairy tales most fully meet this requirement. In fairy tales, the pattern of events, external clashes and struggles is very complex. This circumstance makes the plot fascinating and attracts the attention of children to the fairy tale. Therefore, it is legitimate to assert that fairy tales take into account the mental characteristics of children, first of all, the instability, mobility of their attention and the limitless possibilities of fantasy, that is, the development of imagination.

Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. The hero usually very clearly and clearly shows those main character traits that bring him closer to the national character of the people: courage, hard work, wit, etc. These features are revealed both in events and through various artistic means, for example hyperbolization.

Thus, the trait of hard work as a result of exaggeration reaches its limit brightness And convexity images (in one night build a palace, a bridge from the hero’s house to the king’s palace, in one night sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat, grow, harvest, thresh, thresh, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, boldness, etc. The development of children's imagination occurs during the development of a number of mental fantastic, exaggerated images.

“In a certain kingdom, in a certain state”... It’s as if we are being made to understand that such a story could have happened anywhere: maybe far away, or maybe very close. This will depend on how closely the child wants to accept what is happening.

A certain location of action psychologically distances the child from the events taking place in the fairy tale. It is difficult for a child to transport himself to a specific place, especially if he has never been there. It is easier for children to imagine themselves transported to distant lands.

The main character in a fairy tale is a collective image. The names of the main characters are repeated from fairy tale to fairy tale: Ivanushka, Alyonushka, Marya. The absence of rigid personification helps the child identify with the main character. This property of fairy tales does not place any limits or barriers on children’s imagination.

Working with fairy tales in order to develop children's imagination takes various forms: reading fairy tales, retelling them, discussing the behavior of fairy-tale characters and the reasons for their successes or failures, theatrical performances of fairy tales, holding a competition for experts in fairy tales, exhibitions of children's drawings based on fairy tales, and much more.

It’s good if, when preparing the staging of fairy tales, the children themselves select the musical accompaniment, sew their own costumes, and assign roles. With this approach, even small fairy tales have a huge educational resonance. Such “trying on” the roles of fairy-tale heroes, empathizing with them, makes the problems of the characters even more familiar and understandable even for a long time and well-known “Turnip”.

Everything in this tiny tale makes sense. You can talk about this with children, while activating their imagination. For example, why did grandfather plant a turnip? Not carrots, not beets, not radishes. The latter would be much more difficult to pull out. The turnip is all outward, holding onto the ground only with its tail. The primary action is important here - sowing a single tiny seed, barely visible to the eye, having a round, spherical shape; the turnip itself almost exactly reproduces the ball, increasing in size thousands of times. This is very similar to Christ's parable of the mustard seed: it is the smallest of all seeds, but when it grows, it becomes the largest of all garden plants. Infinitely small and infinitely large. The fairy tale reveals resources, reserves of endless, universal development. And the mouse is from the same category of relationships: the infinitely small has its own meaning, its own significance in the world, the infinitely large is made up of the infinitely small, without the latter there is no first.

So, in “Turnip” a whole philosophical concept, wise and highly poetic, is revealed, as well as enormous resources of words, verbal means and methods.

A fairy tale is like a living organism - everything in it breathes, at any moment it can come to life and speak, even a stone. This feature of the fairy tale is very important for the development of the child’s imagination. Reading or listening to a fairy tale, the child is “implanted” into the story .

He can identify himself not only with the main character, but also with other animated characters. Wherein the child's ability develops decentralized b Xia , take the place of another, and also activates fantasy and intuition . After all, it is precisely this ability of a person to feel something that is different from himself that allows him to feel the multifaceted nature of the World and his Unity with it.

Everyone knows that only in a fairy tale is the impossible possible. There are no mental restrictions that exist in everyday life. Here you can not be afraid to dream, build images of the future, the desired . In a fairy tale, the usual problem formula “I can’t do this” does not work, because all failures are temporary and happen because not all possibilities have yet been explored, not everything has been known. And it’s no coincidence that psychological technique "What would you do if you had a Magic Wand?" so effective even with the most difficult children.

A fairy tale with its harmonious composition teaches a child to think logically: the events in it unfold in strict sequence. The tale captures the dynamics of the plot. The closer the end is, the sharper and more intense the relationships between the characters become. Very often, having brought the hero to the moment of almost complete achievement of the goal, the fairy tale allows for a sharp turn of events to the starting position - and again he begins the struggle for the triumph of justice. This technique helps the child understand that achieving a goal requires perseverance, loyalty to duty, and the desire to win at any cost.

In a fairy tale, the characters and characters from beginning to end are endowed with certain virtues or vices.

Fairy tale heroes always remain true to their characters, no matter what happens to them.

For a child, this feature of fairy tales is very important: this is the necessary simplicity of human relationships that must be mastered before he learns to understand the complexity of people’s affairs and actions.

Fairy tales are characterized by such a compositional feature: a threefold repetition of an episode with a subsequent intensification of the effect. Ivan Tsarevich fights with three snakes, and each new opponent is stronger than the previous one: the three-headed one is replaced by a six-headed one, and the six-headed one by a nine-headed or twelve-headed one; The Sea Tsar sets three difficult tasks for Ivan Tsarevich - and each new one becomes more and more difficult; The hero accelerates his faithful horse three times with the intention of jumping to the top window in which the princess sits, and only the third time he achieves his goal.

The technique of repeating three times has a special meaning in each specific case. In the tale of Sivka-Burka, the thrice-repeated galloping on horseback past the princess’s tower indicates the extraordinary difficulty of achieving the goal. In another fairy tale, the threefold repetition of an episode has a different meaning. Three times the daughters went to spy on Khavroshechka, and only the third time, due to an oversight, she did not keep the secret. The third time turned out to be fatal. So, this last, third episode turns out to be either happy or unhappy. Thus, the fairy tale reveals children's potential of imagination. Gaining experience in solving problems using “fairytale” methods, the child transfers it to real situations.

Thanks to their imagery, fairy tales are easily remembered and after the end of the psychological impact they continue to “live” in a person’s everyday life, helping him understand situations and make decisions.

Fairy-tale stories encrypt situations and problems that every person experiences in his life. Life choices, love, responsibility, mutual assistance, overcoming oneself, the fight against evil - all this is “coded” in the images of a fairy tale.

Each fairy-tale situation has many facets and meanings. While reading a fairy tale, a child unconsciously learns what is most important to him. Over time, children change and understand the same fairy tale completely differently. Under changing conditions, children interpret the content of stories differently, enriching their previous experience with new perceptions. According to N. Pezeshkyan, this is how the storage mechanism of personal experience “works” in fairy-tale stories.

Thanks to the multifaceted meanings, the same fairy tale can help a person solve current problems at different periods of life. Using the example of the fairy tale “Kolobok”, a 3-5 year old child can trace the consequences of rash, too quick children’s decisions (after all, at this age the “I myself” crisis begins, the child tries to do without the help of parents, walk down the street without the hand of an adult, eat food on his own etc.).

When a child begins to become aware of himself and explore the structure of the world around him, he has many questions for adults. Many children's questions baffle parents. It is not so easy to explain to a child why everything happens the way it does, and what is “good and what is bad.”

Observing the fate of the main characters, living through fairy-tale situations, perceiving the language of fairy-tale images, the child puts together, like a mosaic, his own picture of the World . Based on it, he will perceive various situations and act in a certain way.

Children often ask their parents and teachers to read the same fairy tale to them. Probably this one the fairy tale most closely matches the worldview child at the moment and helps him understand things that are important to him, “live” various behavior patterns .

B. Bettelheim notes that adult language and logic are incomprehensible to a child (since he has visual-effective thinking prevails over abstract-logical thinking). Therefore, it is easier for him to find answers to his little problems and questions in fairy-tale situations and images.

Optimism Children especially like fairy tales and enhance the educational value of folk pedagogical means.

Today, more and more attention is paid to the development of creative abilities, the “creativity” of children and adults. Erich Fromm formulated the concept of creativity as “the ability of a child or an adult to be surprised and learn, the ability to find solutions in unusual situations, a focus on discovering something new and the ability to deeply understand one’s experience.”

The process of learning about the World and one’s own capabilities is like a fairy-tale road full of unexpected discoveries and adventures. A a fairy-tale story that conveys the life experiences of many generations, filled with amazing images, mystery and magic, -is often the shortest path along which one can approach the child’s inner world , help him understand the “laws” of the surrounding reality.

Metaphor form, in which fairy tales, stories, parables, anecdotes are created, is most accessible to a child’s perception.

It has been noticed that all one has to do is name an ordinary object “ magical", how it acquires a different meaning for children's perception. Unconsciously, all children begin to treat him, if not with admiration, then with respect.

Many teachers said that all you have to do is call a pen or pencil “magical” and tell a little fairy tale about it, and the child’s eyes begin to spark interest and a desire to use this item. Often, in order for a child to take a medicine, doctors and parents call it “magical” and “healing.”

Apparently, the very word “magical”, “magical” has a special, positively motivating semantics. “Lead an ordinary life in an unusual way,” advises ancient wisdom. By endowing ordinary objects with fabulous and magical properties, activating their imagination, children really begin to perform ordinary actions in an unusual way. This means that they begin to CREATE and become real Wizards!

There are no direct moral teachings in fairy tales, as, for example, in fables. “The fairy tale is a lie, but there is a hint in it - a lesson for good fellows.” Everyone knows that when someone psychologically “pressures” a person, dictating: “Do it this way and not otherwise”, evaluates actions, a protest and a desire to do the opposite are born in the soul (especially of a child or teenager).

In this regard, I would like to bring one interesting observation, which, in turn, is given by T.D. Zinkevich-Evstigneeva:

“Perhaps you have noticed that many children love the fairy tale “The Three Little Pigs.” Particularly attractive to them is the Elder Pig, who can have fun, build a house on time, shelter friends, and defend his life. He very flexibly correlates the principle of pleasure with the principle of reality, being an example of a socially adapted, creative being. An analogue of the image of the Elder Piglet in the fable genre is often called the Ant (from I. Krylov’s fable “The Dragonfly and the Ant”). The ant knows very well the lesson “time for business, time for fun.” However, children love the frivolous Dragonfly more, they sympathize when the Ant pronounces a real verdict on her: “You sang all the time - that’s the point, so go and dance!”

Probably, the situation in the fable “The Dragonfly and the Ant” in many ways reminds children of their own mischief and parental reprimands for them. In some children, the outcome of the fable can strengthen the belief that it is useless to come to their parents with their problems, because instead of understanding, they can receive a reproach: “I told you so!”

A fairy tale is another matter. Unconsciously identifying himself with the Elder Pig, a child can learn to predict future problems and solve them in a timely manner, flexibly combining pleasures and necessary activities. In a fairy tale, no one teaches a child to “live correctly.” The events of a fairy tale flow naturally and logically from one another. Thus, the child perceives and assimilates cause-and-effect relationships and patterns that exist in this world.”

Metaphor is not directive, it only gently hints and directs. This feature of the metaphor allows you to create around the child an aura of psychological security.

We can say with confidence that the impact through metaphor is profound and surprisingly persistent, because it affects not only the behavioral layers of the psyche, but also its VALUE STRUCTURE.

In many fairy tales there is a clear division between good and evil. It is clear to readers who is interfering with life and how they can be defeated. In addition, the child sees that a hero who has committed a bad deed will definitely receive what he deserves. And the one who goes through all the tests and shows his best qualities is sure to be rewarded. This is the law of life: how you relate to the World, so it treats you.

There are fairy tales in which, as in life, evil appears under the guise of good, and a good character has an unattractive guise. But in any case, justice and goodness will certainly triumph.

It gives the child feeling of psychological security . Whatever happens in a fairy tale, everything ends well . It turns out that the trials that befell the heroes were necessary in order to make them stronger and wiser.

1. 2 Development of the emotional sphere of preschool children through

folk tale

Now let's play out who will sculpt which of the heroes. Paper squares are laid out in a circle on the floor, where fairy-tale characters are schematically depicted. Children stand in a circle and follow the music one after another; when the music ends, they stop and take paper squares that depict the fairy-tale hero they will sculpt.

During the sculpting process, if necessary, the teacher prompts the children and draws attention to the artists’ illustrations for the fairy tale “The Frog Princess.” At the end of the lesson, the children arrange the sculpted figures.

Teacher: Children, after the fairy-tale figures dry, we will paint them. (In their free time, children cover the sculpted figures with white gouache.)

Material for the lesson:

Books with the fairy tale "The Frog Princess", illustrated by different artists: I.Ya. Bilibin, V.I. Beltyukov, V.M. Vasnetsov, V. Zherebtsov, O. Perova, B.V. Zvorykin, N. Ustinov. Drawn landscape panorama for a fairy tale. Clay, water in sockets, napkins, stacks, coasters.

Drawing. Heroes of the fairy tale "The Frog Princess"

Program content:

Develop creativity and imagination. Learn to think about the content of your work based on a Russian folk tale. Form an emotional and aesthetic attitude towards the environment. Improve techniques for working with paints, ways to obtain new colors and shades. Learn to depict fairy-tale characters in motion in drawings.

Methodology for conducting the lesson:

Teacher: Today we continue our work on creating the fabulous panorama “The Frog Princess”. You have already sculpted fairy-tale heroes, today I propose to draw these heroes. Remember which of the fairy tale heroes we met? I suggest you play out again who will draw which of them.

Children stand in a circle and follow each other to the music; when the music ends, they stop and take the pieces of paper lying on the floor, where fairy-tale characters are schematically drawn.

After the game, the children begin to depict fairy-tale characters. Tell the children that those who cannot immediately draw with paint should draw an outline with a pencil. During the work, the teacher pays attention to the artists’ illustrations for the fairy tale “The Frog Princess” and examines, together with the children, the features of the image of a particular fairy-tale hero.

At the end of the lesson, children lay out their drawings and admire them. In free time from classes, when they dry, the teacher invites the children to cut them along the contour, leaving space at the bottom for them to stand. Then the children bring their crafts into the overall composition.

Material for the lesson:

Books with the fairy tale "The Frog Princess", illustrated by different artists: I.Ya. Bilibin, V.I. Beltyukov, V.M. Vasnetsov, V. Zherebtsov, O. Perova, B.V. Zvorykin, N. Ushakov. Drawn landscape panorama for a fairy tale. Jars of water, gouache, pencils, brushes No. 4, napkins, palette, album sheets of paper.

Application. Collective design of the fairy-tale panorama "The Frog Princess"

Program content:

Form emotional and aesthetic taste, develop creativity and imagination. Learn to think about the content of your work based on Russian folk tales. Learn to reflect your impressions received while reading and looking at illustrations for fairy tales.

Methodology for conducting the lesson:

The teacher invites the children to look at the fairy-tale panorama “The Frog Princess” and think about how they can decorate the composition using appliqué work. The teacher discusses with the children what they will do in the general panorama, advises and helps as necessary. Some children will decorate the forest, others will decorate the clearing, and others will decorate fairy-tale palaces.

During the work, the teacher recalls paper cutting techniques and makes sure that children follow safety precautions when working with scissors. For those children who can cope with their work, the teacher advises them to think about what else they can decorate and suggests additionally using pencils, paints, felt-tip pens, and crayons.

At the end of the lesson, the teacher, together with the children, examines the created fairy-tale composition. Invite children to answer the question: “What do you like best here and why?” Pay attention to the interesting creative discoveries of different children. Encourage children who showed the most creativity in their work and came up with especially interesting things.

Material for the lesson:

Colored paper, paste, napkins, brushes, scissors, pencils, markers, paints, crayons, jars of water. A fabulous panorama made by children.

Constructiontype"origami" human figure.Collective design of a panel based on the fairy tale "The Frog Princess"

Program content:

Continue to deepen your knowledge of folk art. Develop logical thinking, memory, imagination, creativity. Form ideas about good and evil. To develop children’s desire to decorate the fabulous figures of people they create. Learn to independently arrange crafts in the overall composition.

Methodology for conducting the lesson:

Teacher: Today we will continue working on a fabulous panorama. You have already drawn, sculpted, created images from paper, and today I invite you to make a human figure, constructing it from paper using the “origami” type.

Then, together with the teacher, the children decide which of the fairy-tale characters can be made for the “Frog Princess” panorama; the teacher shows a sample.

After the children make a human figure out of paper, offer them paints, pencils and colored paper to decorate their crafts. At the end of the lesson, children look at fairy-tale characters and complement the fairy-tale panorama with them. Everyone admires the results of their activities together.

Material for the lesson:

Books with the fairy tale "The Frog Princess", illustrated by different artists: I.Ya. Bilibin, V.I. Beltyukov, V.M. Vasnetsov, V. Zherebtsov, O. Perova, B.V. Zvorykin, N. Ushakov. White and colored paper, paints, pencils, jars of water, napkins, brushes, scissors.

Script for a theatrical performance based on the fairy tale "The Frog Princess" (feast)

The script is based on folklore material, which introduces children to the traditions of their own people. He is well known to children. During speech development classes, children were introduced to a fairy tale.

“The Frog Princess”, during which the teacher tried to evoke an emotional response and generate interest in the images of this fairy tale, paying attention to how the work describes this or that character in the fairy tale, what is said about him. Moreover, the teacher will find out from the children how this or that scene, conveyed in words, can be depicted using paints in a drawing. The children's attention was drawn to the words with which people create an artistic image of this or that hero, this or that picture of a fairy tale. Children created images of fairy tale heroes in drawing, modeling, and appliqué. The knowledge, skills and abilities acquired in fine arts classes were useful in preparing costumes and scenery for the performance.

Preparing for the performance aroused great interest among the children and a sense of responsibility for the role that each of them had to play.

Calm folk music sounds. Children dressed as buffoons help guests take their seats.

Boy as a storyteller: Many of you know and love the fairy tale “The Frog Princess.” But we want to remind you of what happened at the royal feast. Watch and listen.

The king with his sons, daughters-in-law, and guests sat down at oak tables and feasted on stained tablecloths. (Children in Russian national costumes, accompanied by the quietly sounding Russian folk song “In the presence of the little one,” sit at tables covered with tablecloths, and Khokhloma dishes are placed on them. Children depict how the guests are feasting: eating, drinking, having fun).

Suddenly they heard knocking and thunder, the whole palace shook. (Two children use a tambourine and wooden spoons to imitate knocking and thunder.)

The guests got scared and jumped up from their seats. (Children in the role of guests, sons and daughters-in-law pretend to be scared, covering their heads with their hands and tilting them towards the table.) Ivan Tsarevich says:

Don't be afraid, honest guests: this is my little frog in a box that has arrived. (The child in the role of Ivan Tsarevich gets up from the table and loudly pronounces the above words.)

Boy in the role of a storyteller: A gilded carriage with six white horses flew up to the royal porch, and Vasilisa the Wise comes out of there: there are frequent stars on her azure dress, on her head there is a clear moon, such a beauty - you can’t even think of it, you can’t guess it, you can only tell it in a fairy tale.

(To the music of the Russian folk song “Swan”, a girl in the role of Vasilisa the Wise comes out in a Russian national costume. While the music is playing quietly and the child in the role of the storyteller pronounces the words of the fairy tale, she walks around the children sitting at the tables three times.)

She takes Ivan Tsarevich by the arms and leads him to oak tables and abusive tablecloths. (When the girl in the role of Vasilisa the Wise begins to go around the tables for the third time, a boy in the role of Ivan Tsarevich comes up to her, takes her by the arm, goes around the tables with her, and then they sit down at the table together.)

The guests began to eat, drink, and have fun. (Children depict a feast and fun.)

Vasilisa the Wise drank from the glass and poured the last of it down her left sleeve. She bit the swan and threw the bones into her right sleeve. (The girl in the role of Vasilisa depicts this with gestures.)

After drinking and eating, it was time to dance. Vasilisa the Wise picked up Ivan Tsarevich and went to dance. She danced and danced, twirled and twirled, to the wonder of everyone. (A girl in the role of Vasilisa and a boy in the role of Ivan Tsarevich leave the table. They are joined by guests who stand in a circle, in the center - Vasilisa the Wise and Ivan Tsarevich. To the music of the Russian folk song “The Moon is Shining,” they dance Children, as guests, join in their dance.)

She waved her left sleeve - a lake became, waved her right - white swans swam across the lake. The king and guests were amazed. (Children in the role of guests and the king feign surprise.)

And the older daughters-in-law went to dance, waved their left sleeves - they splashed the guests, waved them with their right sleeves - a bone hit the king in the eye! The king got angry and drove both daughters-in-law away. (The child in the role of the king depicts anger.)

That was the end of the feast. (With these words, the child in the role of storyteller ends the theatrical performance.)

1.3 Control diagnostics

At the final stage of the experimental work, children from the experimental group took part, with whom special work with fairy tales was carried out, described in detail above, as well as children who were not trained using this method (control group).

The level of development of the emotional sphere was assessed using the same methodology and on the basis of the same criteria that were recorded in the description of the ascertaining experiment.

1. Definition of the emotion joy And. Data for the first emotions , obtained from the results of the control experiment are given in tables. (see Appendix 2 )

To identify improvements, we present the average data for primary and secondary diagnostics:

Table 1. - Comparison of average scores at the beginning and end

experimental work in two groups (emotion of joy)

So, if during the primary diagnosis the children of both groups demonstrated a predominance of incorrect definitions or not entirely accurate definitions of this emotion (the average score was 6.4 for each group), then during the secondary diagnosis the situation changed.

Children in the control group still have a high level of incorrect emotional reactions (average score - 6.0), while in children in the experimental group the number of correct reactions has noticeably decreased (3.1).

2. Definition of the emotion of fear. Data on the second diagnostic method obtained from the results of the control experiment are given in tables. (see Appendix 2) To identify improvements using this method, we present the average data for primary and secondary diagnostics:

Table 2. - Comparison of average scores at the beginning and end

experimental work on two groups (emotion of fear)

During the primary diagnosis, children of both groups demonstrated a predominance of inadequate emotional reactions to the proposed stimuli (average indicator - 6.0 and 6.1), but during the secondary diagnosis the situation changed.

Children in the control group still had a high level of inadequate emotional reactions (average score - 5.8), while in children in the experimental group the number of inadequate emotional reactions noticeably decreased (3.1), therefore, the number of adequate emotional reactions to irritating stimuli increased.

3. Definition of the emotion of surprise . Data for the third emotions , obtained by The results of the control experiment are given in tables. (see Appendix 2)

To identify improvements in this emotions we present the average data for primary and secondary diagnostics:

Table 3. - Comparison of average scores at the beginning and end

experimental work in two groups (emotion of surprise)

So, if during the primary diagnosis children of both groups demonstrated a predominance of inadequate emotional reactions to irritating stimuli (average indicator - 6.6 and 6.4), then during the secondary diagnosis the situation changed.

Children in the control group still have a high level of inadequate emotional reactions (average score - 6.1), while in children in the experimental group the number of inadequate emotional reactions has noticeably decreased (3.6), therefore, the number of adequate emotional reactions to stimuli transmitted by images and verbal description.

Table 4. - Final table of criteria for the development of emotional

The role of fairy tales in child development

Fairy tale... Which of us, adults, does not have pleasant memories of how our mother read us a fairy tale when we were children? Of course, then we were simply interested in hearing about the adventures of various heroes; we empathized with the good characters and did not like the bad ones. Now that many of us have children of our own, we understand that it is with the help of a fairy tale that we can raise a child, help him get used to this complex world, and help him understand good and evil.

It is difficult to overestimate the role of children's fairy tales in the development of children. Fairy tales are an integral element in raising a child, developing imagination, introducing the child to a wonderful world that has its own rules, laws, and relationships. It is in a fairy tale, in a language accessible to a child, that it is easiest to explain to a child where is good and where is evil. After all, children perceive the language of fairy tales much more easily than adult notations.

Remember that by telling a child fairy tales, we develop his inner world - it has been scientifically proven that children to whom their parents began reading fairy tales early began to speak earlier, and their speech was more competent. Among other things, a fairy tale allows you to form the foundations of communication and behavior.

Children who constantly listened to fairy tales in childhood adapt much faster and less painfully to kindergartens and schools. It is these children who quickly find a common language with strangers, and it is they who practically have no complexes in life. Therefore, if you want your child to perceive life positively, to easily accept failures, while learning the proper lesson from them, to rejoice at success and move towards his goal, read fairy tales to him. Read fairy tales as often as possible and for as long as possible: remember, fairy tales are not just a pleasant, interesting pastime, but they are also one of the most powerful tools that help children develop correctly and harmoniously.

It is very important to choose the right time to read a fairy tale. It is necessary that the baby is in a good mood, and at the same time not excited; in this state, he is most inclined to learn, to play, his fantasy and imagination will be able to work without interference.

The optimal time is to read a fairy tale before bed, since at this time you can also discuss what you have read. Adults should remember that a fairy tale should be read with pleasure - in this case, your emotions, your mood, your pleasure will be transferred to the baby.

When reading a fairy tale, remember that your attitude towards it is also important. If you feel a fairy-tale world, if you want to believe in the miracles that are described in a fairy tale, then when you read it, it will become even more interesting for your child.

The same fairy tale can (and should be) read to a child several times. This way the child will be able to most fully and accurately understand its meaning. There will come a time when the child becomes uninterested in the fairy tale - this means that he has figured out its meaning for himself. However, you can read the same fairy tale again after some time; it is quite possible that a slightly older child will perceive it completely differently and discover something new.

A fairy tale is one of the most accessible means of developing a child. Properly selected fairy tales, taking into account the age and psycho-emotional characteristics of children, can not only positively influence the emotional state of children, but also correct their behavior.