In the psychological literature there are different approaches to defining perception. So, L.D. Stolyarenko considers perception as “a psychological process of reflecting objects and phenomena of reality in the totality of their various properties and parts with direct influence on the senses.” S.L. Rubinstein understands perception as “a sensory reflection of an object or phenomenon of objective reality that affects our senses.” The properties of perception are: meaningfulness, generality, objectivity, integrity, structure, selectivity, constancy. Perception is the leading cognitive process of preschool age. Its formation ensures the successful accumulation of new knowledge, rapid mastery of new activities, adaptation to a new environment, and full physical and mental development.

The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation. The role of fiction in the comprehensive education of children is revealed in the works of N.V. Gavrish, N.S. Karpinskaya, L.V. Tanina, E.I. Tikheyeva, O.S. Ushakova.

According to N.V. Gavrish, “perceiving the work by ear, the child, through the form presented by the performer, focusing on intonation, gestures, and facial expressions, penetrates into the content of the work.” N.S. Karpinskaya notes that the full perception of a work of art is not limited to its understanding. It is “a complex process that certainly includes the emergence of one or another relationship, both to the work itself and to the reality that is depicted in it.”

S.L. Rubinstein distinguishes two types of attitude towards the artistic world of a work. “The first type of relationship - emotional-imaginative - represents the child’s direct emotional reaction to the images at the center of the work. The second - intellectual-evaluative - depends on the child’s everyday and reading experience, in which there are elements of analysis.”

The age dynamics of understanding a work of art can be presented as a certain path from empathy for a specific character, sympathy for him to understanding the author’s position and further to a generalized perception of the artistic world and awareness of one’s attitude towards it, to understanding the influence of the work on one’s personal attitudes. Since a literary text allows for the possibility of various interpretations, in the methodology it is customary to talk not about correct, but about full perception.

M.P. Voyushina understands full perception as “the reader’s ability to empathize with the characters and the author of the work, to see the dynamics of emotions, to reproduce in the imagination pictures of life created by the writer, to reflect on the motives, circumstances, consequences of the characters’ actions, to evaluate the heroes of the work, to determine the author’s position, to master the idea of ​​the work, then is to find a response in your soul to the problems posed by the author.”

In the works of L.S. Vygotsky, L.M. Gurovich, T.D. Zinkevich-Evstigneeva, N.S. Karpinskaya, E. Kuzmenkova, O.I. Nikiforova and other scientists explore the peculiarities of the perception of fiction by preschool children. For example, the perception of fiction is considered by L.S. Vygotsky as “an active volitional process that involves not passive content, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of events to oneself, “mental action”, resulting in the effect of personal presence, personal participation in events.”

The perception of fiction by preschool children is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. The child enters into the circumstances depicted, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity extremely expands the sphere of a child’s spiritual life and is important for his mental and moral development.

From the point of view of M.M. Alekseeva and V.I. Yashina “listening to works of art along with creative games is of utmost importance for the formation of this new type of internal mental activity, without which no creative activity is possible.” A clear plot and a dramatized depiction of events help the child to enter into the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.

S.Ya. Marshak wrote in “Big Literature for Little Ones”: “If the book has a clear unfinished plot, if the author is not an indifferent recorder of events, but a supporter of some of his heroes and an opponent of others, if the book has a rhythmic movement, and not a dry, rational sequence, if the conclusion from the book is not a free addition, but a natural consequence of the entire course of facts, and besides all this, the book can be acted out like a play, or turned into an endless epic, inventing new and new continuations for it, this means that the book is written in real children's language language".

MM. Alekseeva showed that “with appropriate pedagogical work, it is already possible to arouse interest in the fate of the hero of the story in a pre-school child, force the child to follow the course of events and experience feelings that are new to him.” In a preschooler one can observe only the beginnings of such assistance and empathy for the characters of a work of art. The perception of a work takes on more complex forms in preschoolers. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts with him, fights his enemies. The activities carried out in this case, especially at the beginning of preschool age, are very close in psychological nature to play. But if in a game the child actually acts in imaginary circumstances, then here both the actions and the circumstances are imaginary.

O.I. Nikiforova identifies three stages in the development of perception of a work of art: “direct perception, reconstruction and experience of images (based on the work of imagination); understanding the ideological content of the work (it is based on thinking); the influence of fiction on the reader’s personality (through feelings and consciousness).”

A child’s artistic perception develops and improves throughout preschool age. L.M. Gurovich, based on a generalization of scientific data and his own research, examines the age-related characteristics of preschoolers’ perception of a literary work, highlighting two periods in their aesthetic development: “from two to five years, when art, including the art of words, becomes valuable in itself for the child.”

The process of development of artistic perception is very noticeable in preschool age. A child can understand that a work of art reflects the typical features of phenomena as early as 4-5 years old. O. Vasilishina, E. Konovalova note such a feature of a child’s artistic perception as “activity, deep empathy for the heroes of the works.” Older preschoolers acquire the ability to mentally act in imaginary circumstances, as if to take the place of the hero. For example, together with the heroes of a fairy tale, children experience a feeling of fear in tense dramatic moments, a feeling of relief, and satisfaction when justice triumphs. The most beloved among children of senior preschool age are magical Russian folk tales with their wonderful fiction, fantastic nature, developed plot action, full of conflicts, obstacles, dramatic situations, various motives (treachery, miraculous help, opposition to evil and good forces, etc.), with bright, strong characters.

A work of art attracts a child not only with its bright figurative form, but also with its semantic content. N.G. Smolnikova proves that “senior preschoolers, perceiving a work, can give a conscious, motivated assessment of the characters, using in their judgments the criteria of human behavior in society that they have developed under the influence of upbringing.” Direct empathy for the characters, the ability to follow the development of the plot, comparison of the events described in the work with those that he had to observe in life, help the child relatively quickly and correctly understand realistic stories, fairy tales, and by the end of preschool age - shapeshifters, fables. The insufficient level of development of abstract thinking makes it difficult for children to perceive genres such as fables, proverbs, riddles, and necessitates the help of an adult.

Yu. Tyunnikov rightly notes: “Children of senior preschool age, under the influence of the targeted guidance of educators, are able to see the unity of the content of a work and its artistic form, find figurative words and expressions in it, feel the rhythm and rhyme of the poem, even remember the figurative means used by other poets.” By perceiving poetic images, children receive aesthetic pleasure. Poems affect the child with the power and charm of rhythm and melody; Children are attracted to the world of sounds.

Small folklore genres continue to be actively used in working with older preschoolers. Sentences have long been used in education as pedagogical techniques in order to emotionally color the significance of a particular moment in a child’s life. Proverbs and sayings are understandable to a child of senior preschool age. But a saying belongs to the speech of an adult; children can hardly use it and are only introduced to this form of folklore. However, individual proverbs addressed to children can instill in them some rules of behavior.

V.V. Gerbova notes that “senior preschool age is a qualitatively new stage in the literary development of preschoolers.” Unlike the previous period, when the perception of literature was still inseparable from other types of activity, and above all from play, children move on to the stages of their own artistic attitude to art, to literature in particular. The art of words reflects reality through artistic images, shows the most typical, comprehending and generalizing real life facts. This helps the child learn about life and shapes his attitude towards the environment. Thus, fiction is an important means of instilling a culture of behavior in older preschoolers.

However, for the competent use of fiction in instilling a culture of behavior in children of senior preschool age. The means of G. Babin and E. Beloborodov are understood as “objects of material and spiritual culture that are used in solving pedagogical problems.” One of the tasks in shaping the personality of an older preschooler is to cultivate a culture of behavior. The means of instilling a culture of behavior include a developmental environment, games, and fiction.

The role of reading fiction is great. Listening to the work, the child gets acquainted with the surrounding life, nature, the work of people, with peers, their joys, and sometimes failures. The artistic word affects not only the consciousness, but also the feelings and actions of the child. A word can inspire a child, make him want to become better, do something good, help him understand human relationships, and get acquainted with norms of behavior.

Fiction influences the child’s feelings and mind, develops his sensitivity and emotionality. According to E.I. Tikheeva, “art captures various aspects of the human psyche: imagination, feelings, will, develops his consciousness and self-awareness, and shapes his worldview.” Using fiction as a means of cultivating a culture of behavior, the teacher must pay special attention to the selection of works, methods of reading and conducting conversations on works of fiction in order to develop humane feelings and ethical ideas in children, and to transfer these ideas into the lives and activities of children (to what extent are feelings reflected? children awakened by art, in their activities, in their communication with people around them).

When selecting literature for children, you need to remember that the moral impact of a literary work on a child depends, first of all, on its artistic value. L.A. Vvedenskaya makes two main demands on children's literature: ethical and aesthetic. On the ethical orientation of children's literature L.A. Vvedenskaya says that “a work of art should touch the child’s soul so that he develops empathy and sympathy for the hero.” The teacher selects works of art depending on the specific educational tasks facing him. The educational tasks that the teacher solves both in and outside the classroom depend on the content of a work of art.

Author of the “Program of Education and Training in Kindergarten” M.A. Vasilyeva talks about the importance of thematic distribution of works for reading to children in class and outside of class. “This will allow the teacher to carry out work on instilling a culture of behavior in children in a targeted and comprehensive manner.” In this case, it is necessary to use repeated reading, which deepens the feelings and ideas of children. It is not at all necessary to read a lot of works of fiction to children, but it is important that they are all highly artistic and deep in thought.

The problem of selecting books to read and tell to preschoolers is revealed in the works of L.M. Gurovich, N.S. Karpinskaya, L.B. Fesyukova and others. They developed several criteria:

• - ideological orientation of the book (for example, the moral character of the hero);
• - high artistic skill, literary value. The criterion of artistry is the unity of the content of the work and its form;
• - accessibility of a literary work, compliance with the age and psychological characteristics of children. When selecting books, the characteristics of attention, memory, thinking, the range of interests of children, and their life experience are taken into account;
• - plot entertaining, simplicity and clarity of composition;
• - specific pedagogical tasks.

A child, due to little life experience, cannot always see the main thing in the content of a book. Therefore M.M. Alekseeva, L.M. Gurovich, V.I. Yashin point out the importance of having an ethical conversation about what you read. “When preparing for a conversation, the teacher must think about what aspect of cultural behavior he is going to reveal to children with the help of this work of art, and select questions in accordance with this.” It is inappropriate to ask children too many questions, as this prevents them from understanding the main idea of ​​a work of art and reduces the impression of what they read. Questions should stimulate preschoolers’ interest in the actions, motives of the characters’ behavior, their inner world, and their experiences. These questions should help the child understand the image, express his attitude towards it (if assessing the image is difficult, additional questions are offered to make this task easier); they should help the teacher understand the student’s state of mind while reading; identify children’s ability to compare and generalize what they read; stimulate discussion among children in connection with what they read. The ideas children receive from works of art are transferred into their life experience gradually, systematically. Fiction helps children develop an emotional attitude towards the actions of the characters, and then the people around them, and their own actions.

Thus, conversations on the content of works of fiction contribute to the formation in children of moral motives of cultural behavior, which later guide them in their actions. From the point of view of I. Zimina, “it is children’s literature that allows preschoolers to reveal the complexity of relationships between people, the diversity of human characters, the characteristics of certain experiences, and clearly presents examples of cultural behavior that children can use as role models.”

The role of reading fiction is great. Listening to the work, the child gets acquainted with the surrounding life, nature, the work of people, with peers, their joys, and sometimes failures. The artistic word affects not only the consciousness, but also the feelings and actions of the child. A word can inspire a child, make him want to become better, do something good, help him understand human relationships, and get acquainted with norms of behavior. During preschool age, the development of an attitude towards a work of art goes from the child’s direct naive participation in the depicted events to more complex forms of aesthetic perception, which, for a correct assessment of a phenomenon, require the ability to take a position outside them, looking at them as if from the outside.

So, the preschooler is not egocentric in his perception of a work of art: “gradually he learns to take the position of the hero, mentally assist him, rejoice at his successes and be upset by his failures.” The formation of this internal activity in preschool age allows the child not only to understand phenomena that he does not directly perceive, but also to relate from the outside to events in which he did not directly participate, which is crucial for subsequent mental development.

Thus, the following conclusions can be drawn.

The problem of perception of literary works of different genres by preschool children is complex and multifaceted. The child goes through a long journey from naive participation in the events depicted to more complex forms of aesthetic perception. We can highlight the features of the perception of literary works by children of senior preschool age:

• - the ability to empathize, allowing the child to give a moral assessment to various actions of characters, and then real people;
• - increased emotionality and spontaneity of text perception, which affects the development of imagination. Preschool age is the most favorable for the development of imagination, since the child very easily enters into imaginary situations suggested to him in the book. He quickly develops likes and dislikes towards “good” and “bad” heroes;
• - increased curiosity, acuity of perception;
• - focusing on the hero of a literary work, his actions. Children have access to simple, active motives for actions, they verbally express their attitude towards the characters, they are impressed by the bright, figurative language, and poetry of the work.

Cognition is the reproduction in consciousness (individual and collective) of the characteristics of objective reality. Cognition is socially and culturally mediated historical in nature and in most cases presupposes a more or less pronounced awareness of the means and methods of cognitive activity used.

The formation of cognitive interests is naturally associated with the process of learning, when the main content of a child’s life is a gradual transition from one level of knowledge to another, from one level of mastery of cognitive and practical skills to another, higher one.

Preschool age is the period of the most intensive formation of the motivational sphere. Among the various motives of preschool children, a special place is occupied by the cognitive motive, which is the most specific for older preschool age.

In the context of the Federal State Educational Standard for Education, cognitive development involves the development of children’s interests, curiosity and cognitive motivation; formation of cognitive actions, formation of consciousness; development of imagination and creative activity, the formation of primary ideas about oneself, other people, objects of the surrounding world, the properties and relationships of objects of the surrounding world, organization of activities in the form of partnership activities with an adult, where he demonstrates examples of research activities, and children get the opportunity to demonstrate their own cognitive activity.

It is difficult to imagine preschool childhood without books. Accompanying a person from the very first years of his life, fiction has a great influence on the development and enrichment of a child’s speech: it develops imagination and provides excellent examples of the Russian literary language. Listening to a familiar fairy tale or poem, the child experiences and worries along with the characters. This is how he learns to understand literary works and through this is formed as a person.

At the beginning of the 21st century, numerous problems of modernization of society affected the opportunities for access to culture and education, which affected both adult reading and children's reading. Researchers note the manifestation of the following negative trends in this area: a decrease in interest in books, a slower entry of children into book culture, and a reduction in the share of reading in the free time structure of the younger generation. The reading process is significantly influenced by the powerful development of audiovisual media. It becomes obvious that at the present stage, issues of nurturing children’s interest in fiction and folklore genres require increased attention from teachers of preschool educational institutions.

The relevance of this problem in our time leads to the idea that we, teachers, need to carry out enormous work with children in this direction: from the revival of the lullaby, the ability to tell children fairy tales and traditions of our people, to introducing children to the heights of classical, domestic and world literature, plastic arts, theater, music.

Based on this, one of the most important tasks in the development of the personality of a preschool child is his assimilation of the spiritual wealth of the people, their cultural and historical experience created over the centuries by a huge number of previous generations.

Many works by teachers and psychologists are devoted to the problem of developing children’s interest in fiction. Various aspects of this problem were studied by E.A. Flerina, M.M. Konina, N.S. Karpinskaya, N.A. Vetlugina, E.I. Tikheyeva, R.M. Zhukovskaya.

Modern researchers of children's reading, such as M.K. Bogolyubsky, L.M. Gurovich, E.P. Korotkova, V.V. Shevchenko and others, attach great importance to the impact of a work of art on the moral, aesthetic, emotional, and speech development of children , paying special attention to the psychological and pedagogical features of introducing preschool children to fiction.

The educational field “Cognitive Development” sets itself the following tasks:

• development of children's interests, curiosity and cognitive motivation;
• formation of cognitive actions, formation of consciousness;
• development of imagination and creative activity;
• the formation of primary ideas about oneself, other people, objects of the surrounding world, about the properties and relationships of objects in the surrounding world, about the small homeland and Fatherland;
• ideas about the sociocultural values ​​of our people, about domestic traditions and holidays;
• about planet Earth as the common home of people, about the peculiarities of its nature, the diversity of countries and peoples of the world.

The study of fiction and folklore contributes to the implementation of the objectives of the Standard.

The goal of the work of preschool educational institutions in accordance with the Federal State Educational Standard for Educational Education, to familiarize children with fiction, should be the formation of interest and need for reading (perception) of books.

Formation of a holistic picture of the world, including primary value ideas;

Development of literary speech;

Introduction to verbal art, including the development of artistic perception and aesthetic taste.

When choosing a range of works to read, it is necessary to introduce the preschooler to literary texts that reveal to him the riches of the surrounding world and human relationships, give rise to a sense of harmony and beauty, teach him to understand the beauty in life, and form in the child his own aesthetic attitude to reality. When choosing a work, preference is given to those that contain a moral basis and whose characters are close and understandable to preschoolers. It is necessary to take into account such characteristics of children as receptivity and the desire to imitate their favorite characters.

In all countries, preschool literary education and upbringing is based primarily on national material. It is in literature that the principles and patterns of behavior characteristic of a given cultural tradition are reflected. They play an important role in shaping children’s ideas about good and evil, which subsequently serve as guidelines for the moral assessment of their own behavior.

When choosing works to read with children, it is necessary to take into account the age characteristics of their perception of fiction.

Thus, the following features are characteristic of children of primary preschool age:

• dependence of text understanding on their personal experience;
• establishing easily recognizable connections when events follow each other;
• the main character is in the spotlight, children most often do not understand his experiences and motives for his actions;
• the emotional attitude towards the characters is brightly colored;
• there is a craving for a rhythmically organized style of speech.

In middle preschool age, some changes occur in the understanding and comprehension of the text, which is associated with the expansion of the child’s life and literary experience. Children establish simple causal connections in the plot and, in general, correctly evaluate the actions of the characters. In the fifth year, a reaction to the word appears, interest in it, the desire to repeatedly reproduce it, play with it, and comprehend it. According to K.I. Chukovsky, a new stage of the child’s literary development begins, a keen interest arises in the content of the work, in comprehending its inner meaning.

In older preschool age, children begin to become aware of events that were not in their personal experience; they are interested not only in the actions of the hero, but also in the motives of actions, experiences, and feelings. They are able to sometimes pick up on subtext. An emotional attitude towards the characters arises on the basis of the child’s comprehension of the entire conflict of the work and taking into account all the characteristics of the hero. Children develop the ability to perceive text in the unity of content and form. The understanding of the literary hero becomes more complex, and some features of the form of the work are realized (stable turns of phrase in a fairy tale, rhythm, rhyme).

In various sections of the program, according to which our kindergarten successfully operates, tasks are spelled out to familiarize children with folk culture:

• expanding ideas about Russian folk art,
• folk life, culture, traditions and customs;
• accumulation of sensory and emotional impressions about works of folk applied art;
• enriching children's ideas with vivid impressions through fiction, musical and theatrical activities;
• introducing children to folk games.

Teachers are faced with the task of helping children comprehend the uniqueness of the Russian national character, its wonderful original qualities using the example of folk art. It is important not just to achieve mechanical reproduction of games, songs, chants, but to return them to a living, natural existence.

When forming a circle of children's reading, it is necessary, first of all, to be guided by the principle of the comprehensive development of the child, since the selection of fiction in accordance with applied principles (by genres, periods, writers) is focused more on the study of literature, or the literary education of children. The conditions for the effectiveness of organizing the reading process are systematicity, expressiveness and organization of reading as a joint activity of an adult and children (and not within the framework of a regulated activity). The criterion for effectiveness is the joy of children when encountering a book, “reading” it with immediate interest and enthusiasm.

It is also important to teach children to compare what they hear with the facts of life. In kindergarten, the child develops some basic skills in analyzing a work (its content and form). By the time each child enters school, he should be able to identify the main characters (who the work is about, show his attitude towards them, who he likes and why), determine the genre of the work (poem, story, fairy tale), and catch the most striking examples of figurative language (definitions , comparisons, etc.).

Children must learn some of the program works by heart (poems, small folklore genres), and some must be able to convey close to the text (retell). In addition, the child masters ways of playing roles in dramatization, in play-dramatization based on literary plots.

Thus, the tasks and content of the work of the preschool educational institution for children to master the educational module “Reading Fiction” are aimed at achieving the goal of developing cognitive interest and the need for reading and perceiving books in accordance with the requirements for the structure of the main educational program of preschool education.

Effective forms and methods of forming cognitive interests in the process of perceiving fiction and folklore.

The formation of cognitive interests in the process of perceiving fiction and folklore includes both traditional and innovative methods and techniques.

Traditional methods include reading and telling works of literature in special classes and outside classes (during games, theatrical performances, on a walk, etc.).

Innovative methods of working with fiction include the following:

Integrated classes that combine the content of different educational modules (for example, “Reading fiction” and “Artistic creativity”, etc.),

Theatrical performances staged with the participation of children based on stories and fairy tales;

Discussion of illustrations by famous artists on the theme of fairy tales,

- “writing” a fairy tale. Children are invited to remember a well-known fairy tale and tell it in a new way. For example, add a new character, introduce new information;

- “salad from fairy tales.” Children are invited to combine heroes from various works in a new fairy tale. For example, three bears, a wolf and seven kids, Little Red Riding Hood, and describe their adventures in the forest;

Project activities (for example, the game project “Playing a Fairy Tale”);

Classes using multimedia;

Classes - excursions (for example, “Golden Autumn in the poems of A. S. Pushkin”), etc.

The interrelation of traditional and innovative methods and techniques makes the process of introducing preschoolers to works of art more effective.

Familiarization with fiction is carried out both in classes and in joint and independent activities of children. During the lessons, working on the text includes four stages.

1. Before reading, you need to name the author’s surname, the title of the work, you can read a fragment from it, show the children the illustration preceding the text. This encourages the children to make assumptions about the content of the text, its themes, and characters. The main thing is to make children want to read the book.

2. Reading the text. During the reading process, it is necessary to make short stops to explain and clarify the meaning of words, invite children to imagine this or that scene, imagine subsequent events, feel the emotional state of the characters, and ask questions. Thus, children develop the ability to listen carefully, comprehend the text meaningfully, and express their attitude to what they read.

After reading, conduct a discussion of the text in order to identify:

1. how the children understood the main idea of ​​the work;
2. what is their attitude towards the actions of the characters;
3. what is the author’s attitude towards his characters;
4. to what extent the assumptions about the content of the text came true.

In conclusion, children reproduce the content of the text: they dramatize episodes, “revive” illustrations, act out pantomimes, draw pictures, voice them and retell them using pictograms.

Preparing children to perceive a new work can be done in different ways. For example: place a new book in the book corner, if possible, with separate drawings by artists for this work. Children, looking at the illustrations, try to determine what kind of book it is (a fairy tale, a story) and what it is about. At the beginning of the lesson, ask the students about their assumptions, praise them for their observation and ingenuity. Name the work. Then demonstrate toys and objects related to the content of the fairy tale, help children remember their names, explain their purpose, and talk about their features. In addition, conduct a special speech exercise to help children learn new words. So, before reading the fairy tale “The Hare Boasts,” tell the children: “There is a giant house. “Not a house, but a home!” - passers-by admire.” And invite the children to come up with words themselves that characterize very large objects. Listen to the answers. Ask to complete the phrases that will be spoken (“The cat has a mustache, the tiger has a mustache, the cat has a paw, the lion has a paw”). Explain that the words mustache and paws belong to the hare - the hero of the new fairy tale “The Hare is Bragging.” This hare, boasting, said: “I don’t have a mustache, but whiskers, not paws, but paws, not teeth, but teeth.” Ask the children to repeat what the hare said. Ask: “How do you think the fairy tale will talk about a giant hare?” Listen to the children’s opinions, then suggest: “Well, let’s check which of you is right,” and read the fairy tale. Another trick: inform that you will now tell a fairy tale with a completely unusual title - “Winged, shaggy and buttery.” Ask: “Who do you think they are?” “You know the name of the fairy tale. Try to compose its beginning,” suggest a new task. Then offer to come up with an ending to the work.

In the preparatory group, sayings are used, especially in cases where no preparatory work was carried out for the lesson. In its mood, the saying is connected with the work. In the second half of the year, children, having learned to listen attentively to a saying, often quite correctly guess what will be discussed. The saying should be told twice. The following sayings are used for the preparatory group:

The fox walked through the forest,

Song calls were displayed

The fox tore the stripes, the fox weaved the bast shoes

The horse at the porch kicks with three hooves,

And the Duck in boots sweeps the hut.

Like a cat baking pies in an oven,

The cat is sewing a shirt at the window,

A piglet is pounding peas in a mortar.

The telling of a fairy tale ends with one of the endings traditional for Russian folklore, for example:

This is how they live

Gingerbread cookies are chewing

They drink it with honey,

They are waiting for us to visit.

Sayings can be used when reading fairy tales to children in their free time. All this helps children remember sayings and use them independently in games, dramatizations, performances, and enrich the speech of preschoolers.

After reading, a conversation is held, questions are asked that help students better understand the content of the fairy tale and correctly evaluate some of its episodes; the most interesting comparisons, descriptions, and typically fairy-tale figures of speech are repeated in order to comprehend the linguistic features of the works of this genre. Another group of techniques used has a training and assessment focus: prompting a word or phrase, retelling in parts, assessment, questions. If the text contains dialogue, retelling by roles is used.

To develop interest in reading, various forms of organizing joint activities to familiarize with fiction are carried out: a tournament of literary heroes, a theater of miniatures, a literary ring, a literary living room of a writer.

For the development of cognitive interest in the group, it is of no small importance to create a developing subject-spatial environment, which includes a “Book Corner”, in which albums with portraits of writers, illustrations and series of plot pictures for books, colorful publications of various genres - poems, stories, fairy tales, folklore, riddles and others. There are also audiobooks that you can listen to. In the book workshop, your child can make mini-books with illustrations and take them home for family reading.

The most important means of working with fiction is play - dramatization. Its originality lies in the fact that it combines role-playing game and creative activity of children. In addition to dramatization games, where the plot and language of the works are mainly preserved, kindergartens also use role-playing games based on the plots of works of art, which generally develop arbitrarily according to the children’s plans. The child’s creativity is manifested in a truthful portrayal of the hero, in penetration into his inner world.

Literary holidays and book holidays have a special emotional impact on children - complex events that include various forms - a conversation, a story, watching a film, a competition, a quiz, a theatrical performance. Literary holidays can be dedicated to the anniversary of a favorite children’s writer, as well as a specific theme (“Congratulations to mom,” “Let’s laugh with the writer,” etc.) An effective way to introduce children to books and reading are also excursions to the children’s library and meetings with children’s writers .

A huge amount of work to familiarize preschoolers with the rich art of the Russian people allows them to introduce children to the national culture. We, adults, need to surround our children with love, care, attention, affection, teach them to enjoy life and treat their peers and adults kindly. Adults lead the child along the path of understanding the world and understanding himself in this world, playing with him, and later creating all the conditions for his independent play.

When introducing children to folk culture, I actively, creatively assimilate many seemingly dead and frozen traditions of folk culture.

Replenishing the development environment with necessary household items, she produced manuals for classes, attributes for games, and collected material bit by bit, creating card indexes.

Working with the younger group, I constantly noticed the children’s interest in nursery rhymes and riddles. They liked it when I took the Katya doll in my arms and began to sing in a gentle voice, rocking her:

Bye, bye, bye, bye!

You little dog don't bark

Whitepaw, don't whine,

Don't wake up my daughter!

While washing and combing the children’s hair, she introduced them to the songs “Water, water...”, “Grow the braid...”. After such short performances, the children easily memorized the songs and transferred them to everyday play. Getting to know nursery rhymes begins with looking at pictures, illustrations, and toys. In the preliminary conversation, the meaning of the new words that the children heard in nursery rhyme is explained. It’s nice to watch how children use songs during the game “Mothers and Daughters” and how carefully they treat their dolls.

As the children grew up, it was necessary to select folklore material with a more complex meaning. Children are tasked not only with memorizing the text, but also with emotionally playing and acting out it. Children learn to move, talk like a fox, a hare, a bear, etc., depending on what the song is about. For example, in a nursery rhyme:

Shadow, shadow, shadow,

There is a fence above the city,

The animals sat under the fence,

We boasted all day.

The fox boasted:

“I am beautiful to the whole world!”

The bunny boasted:

“Go, catch up!”

Not all children can convey the character's character. But gradually every child can learn to play any role.

In older groups, a lot of time is spent telling fairy tales. During the story, it is necessary to show children emotions and facial expressions. This helps children understand the content of the fairy tale and express their attitude towards its characters. It is advisable to hold a competition among children for the best drawing or craft based on fairy tales, for example, “What a miracle are these fairy tales...”, “Who did Kolobok meet?” Carry out games-dramatization of individual episodes at the request of the children.

Another technique used is listening to audio recordings of fairy tales. The music that accompanies the fairy tale and the songs of its characters help children listen to the melodies, think about the characters’ characters, and enjoy the melodiousness of their native language.

Folklore provides excellent examples of Russian speech, imitation of which allows a child to more successfully master his native language.

Proverbs and sayings are the pearls of folk art. They affect not only the mind, but also the feelings of a person. The proverb can be used in any situation: “Seven do not wait for one,” “If you hurry, you make people laugh.”

During walks, proverbs help children better understand various phenomena and events: “Spring is red with flowers, and autumn with fruits,” “March with water, April with grass,” etc. By studying proverbs about work, children become assistants in creating a card index of proverbs and sayings. Together with their parents, they design them, and in kindergarten they explain their meaning and learn to understand in what situations they can be used. The guys often encourage each other: “Patience and work will grind everything down,” “The master’s work is afraid,” “When you’ve finished the work, go for a walk.” In free activities, competitions are held: “Continue the proverb.”

To deepen and clarify children’s knowledge about the world around them, it is useful to make riddles: “Who and what is this?”, “I’ll make a guess, and you guess,” “Give me a word.”

Russian folklore is reflected in round dancing games, so great importance must be given to teaching children folk plot, movement and round dancing games. Gradually, stimulating interest in playing games together and independently, I introduce children to ritual, leisure, outdoor, and story-based games. When looking at illustrations, household items and art with the children, it is necessary to acquaint them with national customs and folklore. Talk about the plot of the game, explain the role of the driver, choose him using counting rhymes.

The children learned many different games: “Geese - Swans”, “Wicket”, “Blind Man’s Bluff”, etc.

The group has created the necessary conditions for games. A card index of folk games with rules and their descriptions has been collected. In an accessible place there are masks, costumes, outfits for transforming children into heroes of various games.

My work would not be so fruitful if it were not for the help of my parents. To find a response in their hearts, I held short conversations and consultations with them.

The group developed the “Talented Readers” project, which made it possible to find in parents the necessary and reliable helpers who deepen their children’s love for books and oral folk art.

The Talented Readers project includes:

1. parent survey “My Family’s Reading Habits”;
2. homework to develop children's perception and understanding of literary works and works of folklore;
3. compiling a card index for family reading;
4. thematic parent meeting “Teaching Children to Read”;
5. literary evenings;
6. Instructions for parents on organizing family reading.

During the year, literary evenings were organized together with parents: - “My Favorite Book”, “Poetry Evening”, “Show a Fairy Tale”. In the spring, the kindergarten traditionally held a children's book festival. For the most part, these are activities organized by adults. With the indirect support of educators, children, on their own initiative, look at or draw illustrations for the books they like, communicate with each other, looking at the illustrations and recite them by heart, as if “reading” their favorite book to a friend. An analysis of the results of the educational program in this area of ​​work showed that children treat books with interest. Every time there were children at the bookcase, looking at the illustrations and making mini-books.

Thus, we can conclude that the development of children’s perception and understanding of literary works is facilitated by varied, interesting and meaningful activities, which can include both forms organized by adults and independent creative activity of the children themselves, thereby forming cognitive interest.

Conclusion

Works of fiction and folklore form a child’s cognitive interest, open and explain to children the life of society and nature, the world of human feelings and relationships. They not only entertain and delight children, but also lay the foundations of morality, develop the child’s thinking and imagination, enrich his emotions, and provide examples of literary language. Gradually, children develop a selective attitude towards literary works and an artistic taste is formed.

Fiction is a universal developmental and educational tool, taking the child beyond the limits of the directly perceived, immersing him in possible worlds with a wide range of models of human behavior and orienting him in a rich linguistic environment.

The role of fiction and folklore in the development of children's cognitive interests is truly great. And in many ways, it depends on both parents and educators whether the child will experience joy from communicating with a book, so that this communication becomes a need, then the book will contribute to the development and upbringing of the child.

Bibliography:

1. Bogolyubskaya, M. K. Artistic reading and storytelling in kindergarten [Text] / M. K. Bogolyubskaya, V. V. Shevchenko. – M.: Education, 1980 – 224 p.
2. Budarina T.A., Korepanova O.N. Introducing children to Russian folk art. Methodical manual - St. Petersburg: CHILDHOOD - PRESS, 2001.
3. Gurovich, L. Child and book [Text] / L. Gurovich, L. Beregovaya, V. Loginova. – St. Petersburg. : Peter, 1996. – 324 p.
4. Dal V.I. Proverbs of the Russian people. - M.: Publishing house EKSMO-Press, Publishing house NNN-2002.
5. Childhood: Program for the development and education of children in kindergartens.
6. Kabanenkova N. Days lived with children / Folklore in the lives of children - // Preschool Education, No. 4, 1997.
7. Karpinskaya, N. S. Artistic word in raising children [Text] / N. S. Karpinskaya - M.: Pedagogika, 1972. - 152 p.
8. Knyazeva O.L., Makhaneva M.D. Introducing children to the origins of Russian folk culture/Program. Teaching method, manual / St. Petersburg: DETSTVO-PRESS, 2000.
9. Korotkova, E. P. Teaching preschool children storytelling. [Text] /E. P. Korotkova. - M.: Education, 1982. – P. 128.
10. Ancient Russian proverbs and sayings / Intro. article, comp., note. V.P. Anikina; - 2nd add. ed. - M.: Det. lit., 1984.
11. Flerina, E. A. Aesthetic education of a preschooler [Text] / E. A. Flerina. – M.: APN RSFSR, 1961. – 334 p.

The perception of fiction is considered as an active volitional process, which does not involve passive contemplation, but activity, which is embodied in internal assistance, empathy with the characters, in the imaginary transference of “events” to oneself, in mental action, resulting in the effect of personal presence, personal participation.

The perception of fiction by preschool children is not reduced to a passive statement of certain aspects of reality, even very important and significant ones. The child enters into the circumstances depicted, mentally takes part in the actions of the characters, experiences their joys and sorrows. This kind of activity extremely expands the sphere of a child’s spiritual life and is important for his mental and moral development. Listening to works of art along with creative games is of utmost importance for the formation of this new type of internal mental activity, without which no creative activity is possible. A clear plot and a dramatized depiction of events help the child to enter into the circle of imaginary circumstances and begin to mentally cooperate with the heroes of the work.

At one time S.Ya. Marshak wrote in “Great Literature for Little Ones”: “If the book has a clear unfinished plot, if the author is not an indifferent recorder of events, but a supporter of some of his heroes and an opponent of others, if the book has a rhythmic movement, and not a dry, rational sequence, if the conclusion from the book is not a free addition, but a natural consequence of the entire course of facts, and besides all this, the book can be acted out like a play, or turned into an endless epic, inventing new and new continuations for it, this means that the book is written in real children's language language"

L.S. Slavina showed that with appropriate pedagogical work, it is already possible to arouse interest in the fate of the hero of the story in a pre-preschooler, force the child to follow the course of events and experience feelings that are new to him. In a preschooler one can observe only the beginnings of such assistance and empathy for the characters of a work of art. The perception of a work takes on more complex forms in preschoolers. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts with him, fights his enemies. The activities carried out in this case, especially at the beginning of preschool age, are very close in psychological nature to play. But if in a game the child actually acts in imaginary circumstances, then here both the actions and the circumstances are imaginary.

During preschool age, the development of an attitude towards a work of art goes from the child’s direct naive participation in the depicted events to more complex forms of aesthetic perception, which, for a correct assessment of a phenomenon, require the ability to take a position outside them, looking at them as if from the outside.

So, the preschooler is not egocentric in perceiving a work of art. Gradually, he learns to take the position of a hero, mentally support him, rejoice at his successes and be upset by his failures. The formation of this internal activity in preschool age allows the child not only to understand phenomena that he does not directly perceive, but also to relate from the outside to events in which he did not directly participate, which is crucial for subsequent mental development.

In accordance with the Federal State Educational Standard, preschool education assumes familiarity with book culture, children's literature, and listening comprehension of texts of various genres of children's literature. The most important condition for the implementation of this task is knowledge of the age-related characteristics of the perception of preschoolers, in this case, the perception of works of fiction.

At 3-4 years old (junior group) children understand main facts of the work, capture the dynamics of events. However, understanding of the plot is often fragmentary. It is important that their understanding is connected with direct personal experience. If the narrative does not evoke any visual ideas in them and is not familiar from personal experience, then, for example, Kolobok may be more incomprehensible to them than the golden egg from the fairy tale “Ryaba Hen”.
Kids are better comprehend the beginning and end of the work. They will be able to imagine the hero himself and his appearance if an adult offers them an illustration. In the hero's behavior they see only actions, but do not notice his hidden motives for actions and experiences. For example, they may not understand Masha's true motives (from the fairy tale "Masha and the Bear") when the girl hid in the box. Children's emotional attitude towards the characters of the work is clearly expressed.

Features of the perception of a literary work by children of primary preschool age determine tasks:
1. Enrich the life experience of children with the knowledge and impressions necessary to understand a literary work.
2. Help correlate existing childhood experiences with the facts of a literary work.
3. Help establish the simplest connections in the work.
4. Help to see the most striking actions of the heroes and evaluate them correctly.

At 4-5 years old (middle group) children’s experience of knowledge and relationships is enriched, the range of specific ideas is expanding. Preschoolers easy establish simple cause-and-effect relationships in the plot. They can isolate the main thing in a sequence of actions. However, the hidden intentions of the heroes are not yet clear to children.
Focusing on their experience and knowledge of behavioral norms, most often they give a correct assessment of the hero’s actions, but highlight only simple and understandable actions. The characters' ulterior motives are still overlooked.
The emotional attitude to a work at this age is more contextual than that of 3-year-olds.

Tasks:
1. To develop the ability to establish various cause-and-effect relationships in a work.
2. Draw children’s attention to the hero’s various actions.
3. To develop the ability to see simple, open motives for the actions of heroes.
4. Encourage children to determine their emotional attitude towards the hero and motivate him.

At 5-6 years old (senior group) Children are more attentive to the content of the work and its meaning. Emotional perception is less pronounced.
Children are able to understand events that were not in their direct experience. They are able to establish diverse connections and relationships among the characters in the work. The most popular are the “long” works – “The Golden Key” by A. Tolstoy, “Cippolino” by D. Rodari, etc.
Awareness appears interest in the author's word, auditory perception develops. Children take into account not only the actions and actions of the hero, but also his experiences and thoughts. At the same time, older preschoolers empathize with the hero. The emotional attitude is based on the characteristics of the hero in the work and is more adequate to the author's intention.

Tasks:
1. To encourage children to establish diverse cause-and-effect relationships in the plot of the work.
2. To develop the ability to analyze not only the actions of the characters, but also their experiences.
3. Form a conscious emotional attitude towards the characters of the work.
4. Draw children’s attention to the linguistic style of the work and the author’s techniques for presenting the text.

At 6-7 years old (preparatory group) preschoolers begin to comprehend works not only at the level of establishing cause-and-effect relationships, but also understand emotional overtones. Children see not only the various actions of the hero, but also highlight pronounced external feelings. The emotional relationship with the characters becomes more complicated. It depends not on a single bright act, but from taking into account all the actions throughout the plot. Children can not only empathize with the hero, but also consider events from the point of view of the author of the work.

Tasks:
1. Enrich the literary experience of preschoolers.
2. To develop the ability to see the author’s position in a work.
3. Help children comprehend not only the actions of the heroes, but also penetrate into their inner world, see the hidden motives of their actions.
4. To promote the ability to see the semantic and emotional role of a word in a work.

Knowing the age-related characteristics of children’s perception of a literary work will allow the teacher develop the content of literary education and on its basis to implement the tasks of the educational field "Speech development".

Dear teachers! If you have questions about the topic of the article or have difficulties in working in this area, then write to

The process of perceiving literature can be considered as a mental activity, the essence of which is to recreate artistic images invented by the author.

O. I. Nikiforova distinguishes three stages in the development of perception of a work of art: direct perception, reconstruction and experience of images (based on the work of imagination); understanding the ideological content of the work (it is based on thinking); the influence of fiction on the reader’s personality (through feelings and consciousness)

Based on research by teachers and psychologists, L. M. Gurovich identified the characteristics of the perception of literature in children at different stages of preschool age.

Junior group (3-4 years old). At this age, understanding a literary work is closely related to direct personal experience. Children perceive the plot in fragments and establish the simplest connections, primarily the sequence of events. At the center of perception of a literary work is the hero. Pupils of the younger group are interested in what he looks like, his actions, actions, but they do not yet see the emotions and hidden motives of his actions. Preschoolers of this age cannot independently recreate the image of a hero in their imagination, so they need illustrations. Actively cooperating with the hero, children try to intervene in events (interrupt reading, hit the image, etc.).

Middle group (4-5 years old). Preschoolers of this age easily establish simple, consistent causal connections in the plot and see the so-called hidden motives of the hero’s actions. The hidden motives associated with internal experiences are not yet clear to them. When characterizing a character, children highlight one, most striking feature. The emotional attitude towards the heroes is determined primarily by the assessment of their actions, which is more stable and objective than before.

Senior group (5-6 years old). At this age, preschoolers to some extent lose their bright, outwardly expressed emotionality, and they become interested in the content of the work. They are able to understand events that did not happen in their own lives. In this regard, it becomes possible to introduce children to educational works.

Children continue to perceive mainly actions and deeds, but they also begin to see some of the simplest and most pronounced experiences of the heroes: fear, grief, joy. Now the child not only cooperates with the hero, but also empathizes with him, which helps him understand the more complex motives of his actions.

School preparatory group (6-7 years old). In the behavior of a literary hero, children see various, sometimes contradictory actions, and in his experiences they identify more complex feelings (shame, embarrassment, fear for another). They are aware of the hidden motives of their actions. In this regard, the emotional attitude towards the characters becomes more complicated; it no longer depends on a single, even the most striking act, which presupposes the ability to consider events from the author’s point of view.

Thus, studying the characteristics of the perception of a literary work at different stages of preschool age makes it possible to determine the forms of work and select means of familiarization with literature. For children to effectively perceive fiction, the teacher needs to conduct an analysis of the work, which includes: 1) analysis of the language of the work (explanation of incomprehensible words, work on the imagery of the author’s language, on means of expression); 2) analysis of structure and content.

In accordance with the Federal State Educational Standard for Educational Education, it is possible to determine the basic principles of work to introduce children to fiction. - Construction of educational activities based on the individual characteristics of each child, in which the child himself becomes active in choosing the content of his education. The selection of literary texts takes into account the preferences and characteristics of teachers and children. - Promotion and cooperation of children and adults. The child is a full-fledged participant (subject) of educational relations. - Supporting the initiative of preschoolers. - Cooperation between the organization and the family. Creation of child-parent projects related to fiction, including various types of activities, during which integral products are created in the form of homemade books, exhibitions of fine art, layouts, posters, maps and diagrams, scripts for quizzes, leisure activities, holidays, etc. - Involving children to sociocultural norms, traditions of family, society and state on works of literature. - Formation of cognitive interests and cognitive actions of children in the process of perceiving fiction. - Age appropriateness: compliance of conditions, requirements, methods with the age and developmental characteristics of children.