Imagination and creativity of the individual. Modern approaches to writing a presentation

Size: px

Start showing from page:

Transcript

1 Types of presentation. Understanding and memorizing the text based on the recreational imagination Types of presentation Traditionally, the following types of presentation are distinguished. By the form of speech: oral, written. By volume: detailed, concise. In relation to the content of the original text: complete, selective, presentation with an additional task (to add the beginning / end, make insertions, retell the text from 1-z-l., Answer a question, etc.). According to the perception of the original text: presentation of the read, perceived visually text, presentation of the heard, perceived by ear, presentation of the text, perceived both by ear and visually. By the purpose of the conduct: training, control. The peculiarities of all these types of presentation are well known to the teacher. We only note that in the 9th grade, you should not concentrate both your own efforts and the efforts of students on any one species. In the practice of preparing for the exam, different texts, different statements and, of course, different types of work should be present, otherwise boredom and monotony - the main enemy of any activity - cannot be avoided. But, since there is very little time for presentation in the graduating class (you also need to go through the program), it is best to select small texts for training and train one specific skill. Requirements for texts Presentation texts do not satisfy not only us, teachers, but also children: they seem monotonous, "pretentious", incomprehensible, too long ("try to retell the text in words yourself, and there are most of them in collections!"). The game called "If I were a writer of texts, I would suggest texts about ..." turned out to be very effective: the students named a variety of topics - about school, about problems that worried teenagers, about interesting people, about great discoveries, about technology, sports, music, relationships between people and even the future of humanity. "Anything but boring!" Why do children name these particular topics? What is leading in their choice? Without realizing it themselves, they act according to one criterion - emotional, choosing texts that first of all cause positive emotions... The selection of non-boring - informative, exciting, problematic, intelligent, and sometimes humorous - texts excites and maintains cognitive interest, creates a favorable psychological climate in the lesson. Best of all for this purpose are popular science and some journalistic texts, less often - and only with a specific educational task - fiction. Whether it is possible to propose texts from classical works for presentation is controversial. Many methodologists believe that by conveying close to the text the content of an artistically impeccable fragment, students master those turns of speech that belong to Lermontov, Gogol, Tolstoy ... During the presentation, the imitation mechanism is turned on, which has a beneficial effect on the child's speech. But what does it mean to “retell in detail” by Lermontov or Gogol (for example, the texts “On Pechorin”, “On the Thick and Thin by Gogol” or “On Sobakevich”)? If the passage is not very long, which cannot be said about the examination texts, it can be memorized almost word for word with incredible effort. However, in this case, there is no need to talk about any kind of understanding and development of speech. The situation with the detailed presentation of the classics was parodied by the students themselves in the genre “ bad advice":" ... you must replace all the words of the author with your own and at the same time keep his style "How to carry out the presentation? At first glance, the question may seem rather strange: the presentation technique is known to any teacher. But it is worth giving up some of the familiar schemes and patterns.

2 The teacher reads the text for the first time. Pupils, listening, try to understand and remember the text. After the first reading, they retell the text in order to understand what they have not remembered. This work usually takes 5-7 minutes. The teacher reads the text a second time. Pupils pay attention to the passages they missed during the first reading. Then they retell the text again, make the necessary notes on the draft, make a plan, formulate the main idea, etc. And only after that the presentation is written. Unlike the traditional technique, during the retelling, children note not what they already remember well, but what they missed while listening to the text. New technique takes into account the psychological mechanisms operating in the process of perceiving the text - the mechanisms of memorization and understanding. Speaking the text to himself, the student, albeit not immediately, realizes that he did not remember some parts of the text because he did not understand them. At the initial stage of training, one of the students can retell the text. Control over memorization and understanding in this case is carried out from the outside by other students: they note factual errors, omissions, logical inconsistencies, etc. As a result of this joint activity with the class, gradually even the weakest students learn to retell. The role of such a mental process as recreational imagination deserves a separate discussion. Understanding and memorizing a text based on the recreational imagination As you know, in psychology, different types of imagination are distinguished: creative and recreational. Unlike creative imagination, aimed at creating new images, recreating is aimed at creating images that match verbal description... It is the recreational imagination that permeates all studying proccess, without it it is impossible to imagine full-fledged training. Its role in reading is especially important. artistic text... “Of course, this does not apply to all reading. Such reading, which pursues only one goal - to find out "what is being said here and what will happen next," writes the famous psychologist BM Teplov, "does not require active work of the imagination. But such reading, when mentally" you see and hear "everything what we are talking about, when you mentally transfer yourself into the depicted situation and “live” in it - such reading is impossible without the most active work of the imagination. ”This can be fully attributed to writing a presentation. of the text, the student mentally “saw and heard” what he is listening to (reading). Of course, it is not easy to achieve this. The recreational imagination of different people and children in particular is not developed to the same degree. The technology of writing an essay based on the text of the presentation Features of a detailed and concise presentation Whatever form of final certification a ninth-grader chooses, he will have to write a presentation: General or concise presentation with essay elements (traditional form), detailed (2007 version), concise (2008 version). Analysis of the questionnaires shows that ninth-graders understand the difference between detailed and concise presentation quite well. Two-thirds of them believe that retelling, close to the text, is easier, since "you can rely on memory and ability to write quickly." Although in the questionnaires there are also arguments, mostly naive, in favor of a concise presentation: "it is easier to write, since you will make fewer mistakes", " fewer descriptions, all sorts of different details "," teachers like brevity more. " To "compress" the text means "to shorten it, but at the same time keep the main idea in each paragraph"; "Remove all unnecessary and leave only the main thing, and this is the most difficult"; "Give up details." If we compare these statements with what they write about a detailed and concise

3 of the Methodists' presentation, it turns out that there are not so many differences. The task of a detailed presentation is to reproduce the original text as fully as possible, preserving its compositional and linguistic features. The task of a concise presentation is to briefly, in a generalized form, convey the content of the text, select essential information, exclude details, and find speech means of generalization. In a concise presentation, it is not necessary to preserve the stylistic features of the author's text, but the author's main thoughts, the logical sequence of events, characters actors and the setting must be conveyed without distortion. An interesting technique that helps students understand the features of a detailed and concise presentation is offered by the Pskov methodologist F.S. Marat. He compares the original text with a large nesting doll, a detailed presentation with a smaller nesting doll, and a concise presentation with the rest of the nesting dolls. “These last three nesting dolls are a concise summary of the text. In one case, for example, we were given three minutes to present (or 30 lines in the newspaper), in the other - two minutes (20 lines), in the third - a minute (or 10 lines). So we got texts of different degrees of compression, compressed statements, and we all created them on the basis of the original one. Therefore, they are somewhat in the most important similar to each other and, of course, to the first, source text ”1. If this explanation is accompanied by an appropriate drawing or diagram, students will see that the text can be compressed to varying degrees, but secondary text the main and essential of the original text should be preserved. Obviously, not every text is suitable for a concise presentation, but only one in which there is something to compress. The amount of text for a concise presentation should be larger than for a detailed one. (For some reason, this criterion is not taken into account by the compilers of the latest version of the examination paper, who offer texts for a concise presentation in which there are only words. The pupils' reaction to the task is characteristic: “There’s nothing to compress!”; “How to shorten a text with two hundred words , up to ninety? Leave every second word? ") Concise presentation is considered the most difficult type of presentation because many students do not know how to highlight the main and other important thoughts, do not know how to be distracted from insignificant information. According to psychologists, short retelling- a technique inorganic for the nature of children. Children gravitate towards unnecessary details. And if they are not specially taught, the task of retelling the text briefly for many is absolutely impossible. This is confirmed by experimental data: only 14% of students in grades 8-9 can do such a retelling2. Often the words short and short as applied to retelling are synonymous for schoolchildren: when retelling, the text may become shorter, but at the same time the main thing often disappears, essential information is skipped. The role of this type of presentation can hardly be overestimated. It is in a brief retelling that the degree of understanding of the text is revealed; it is a litmus test of understanding. If the text is not understood or understood in part, a brief retelling will reveal all the defects of perception. How do you teach schoolchildren to write a concise summary? What tricks can you use? What material is the best to do this on? These are the questions that teachers usually ask. Methods and techniques of text compression Compressed presentation requires special logical work. There are two main methods of compression (compression) of text3: 1) exclusion of details; 2) generalization. In case of exclusion, you must first highlight the main thing, and then remove the details (details). When generalizing the material, we first isolate individual essential facts (omit the insignificant ones), combine them into one whole, select the appropriate language means and compose a new text. Which compression method to use in each specific case will depend on the communicative task and the characteristics of the text. Students do not master the named methods of text compression to the same extent. Some hardly single out the main thing and find the essential, getting bogged down in countless details; others, on the contrary, compress the text so much that nothing remains in it

4 live and it becomes more like a plan or diagram. In both cases, we are dealing with the difficulties of the abstraction process. However, like any other faculty of human thinking, the ability to abstract is amenable to training. Here are the types of tasks aimed at compressing text. Shorten the text by one third (half, three quarters ...). Shorten the text by conveying its content in one or two sentences. Remove unnecessary things from your point of view in the text. Compose a "telegram" based on the text, i.e. highlight and very briefly (after all, every word is precious in a telegram) state the main thing in the text. EXAMPLE 1 Task 1. Listen to the text, write a concise summary by cutting the text in half. Original text In addition to the legends about Hercules, the ancient Greeks told about two twin brothers - Hercules and Iphicles. Despite the fact that the brothers were very similar from childhood, they grew up different. It's still very early and the boys are sleepy. Iphicles pulls a blanket over his head to watch interesting dreams longer, and Hercules runs to wash to the cold stream. Here the brothers walk along the road and see: on the way there is a big puddle. Hercules steps back, scatters and jumps over the obstacle, and Iphicles, grumbling displeasedly, looks for a roundabout way. The brothers see: there is a beautiful apple on a tall branch of a tree. Too high, Iphicles grumbles. "I don't really want this apple." Hercules jumps - and the fruit is in his hands. When the legs get tired and the lips dry out from thirst, and it is still far from the rest, Iphicles usually says: "Let's rest here, under the bush." “We'd better run,” Hercules suggests. - So we will overcome the road sooner. Hercules, who at first was an ordinary boy, later becomes a hero, the conqueror of monsters. And all this only because from childhood he was accustomed to gaining daily victories over difficulties, over himself. Hidden in this ancient legend deepest meaning: will is the ability to control oneself, this is the ability to overcome obstacles. (From the magazine) (176 words) Concise text The ancient Greeks have a legend about Hercules and Iphicles. Although they were twins, the brothers grew up different. In the early morning, when Iphicles is still asleep, Hercules runs to wash to the cold stream. Seeing a puddle on the way, Hercules jumps over it, and Iphicles bypasses the obstacle. An apple hangs high on a tree. Iphicles is too lazy to climb after him, and Hercules here takes out the fruit. When there is no more strength to go, Iphicles offers to make a halt, and Hercules - to run forward. Although Hercules, like Iphicles, was at first an ordinary boy, he became a hero, because from childhood he learned to overcome difficulties, brought up will. (90 words) On this simple example you can show students specific methods of compressing the text: 1) the exclusion of details, secondary facts (pulls a blanket over his head to watch interesting dreams longer); 2) exclusion of direct speech or translation of direct speech into indirect (4th and 5th paragraphs, someone else's speech is conveyed using simple sentences with an addition indicating the topic of speech). When teaching a concise presentation, a certain sequence of actions is followed, which can be written down in the form of the following instruction.

5 Instruction "How to write a condensed presentation" -Highlight essential (ie important, necessary) thoughts in the text. -Find the main idea among them. -Split the text into parts by grouping it around the essential thoughts. -Head each part and make an outline. -Consider what you can exclude in each part, what details to refuse. -What facts (examples, cases) can be combined, summarized in adjacent parts of the text? -Consider the means of communication between the parts. -Translate the selected information into "your" language. -Write this abbreviated, "wrung out" text on the draft. Starting from about the 8th grade, students are no longer interested in writing "simple presentation". But the presentation, complicated by additional tasks aimed at highlighting the main idea, working with a heading, creative processing of the text, etc., students write with much greater interest, since it allows, firstly, a deeper understanding of the text, and second, to include the knowledge gained from the text into the already existing system of knowledge, to demonstrate their erudition, to show creativity. With this approach, the presentation in the 9th grade can be considered as a certain stage of preparation for the exam (writing part C) in the 11th grade. Retelling the text (first of all, briefly), the student is already doing serious work to understand its content, a correctly "squeezed out" text is a support for writing an essay. I will give several types of assignments, which can be modeled on to compose assignments for a variety of texts. Each group of tasks has the goal of training a certain technique of working with text. I. Tasks aimed at the ability to predict the content of the text. 1. Read the title and try to guess what (who) will be discussed in the text. After listening to the text, check your assumptions. Examples of titles: “A discovery that was two hundred years late”, “Sad collection”, “Fifteen Louis Fifteenths” - the titles of the texts by S. Lvov; "The Man from the Moon" (about Miklouho-Maclay), "Raphael of the Violin Mastery" (about Stradivari). 2. Listen to or read the beginning of the text (first sentence, first paragraph), according to which you will write your presentation, and try to guess what will be discussed next (what events will follow this, what thoughts will be expressed ...). Example The heroes of Lewis Carroll's fairy tale "Alice in Wonderland" The Hatter and the March Hare, as you know, were continuously busy drinking tea. When the dishes became dirty, they did not wash them, but simply transplanted to another place. “- And what will happen when you reach the end? - Alice dared to ask. “Isn't it time for us to change the subject? - suggested the March Hare "... (Continuation of the text:" This dialogue is cited in one of his books by the founder of cybernetics, American scientist Norbert Wiener, speaking about the use of nature by man, the limitedness of its resources ... "The text is taken from the" Encyclopedia for Children " (volume "Biology") and is devoted to environmental problems.) (83 words) Evaluation of the presentation Evaluation criteria. 1. Evaluation of detailed presentation Verification of statements - for all the familiarity of this work - for many language experts causes serious difficulties. The greatest difficulties are associated with the assessment of the content of the work. And although the criteria for assessing the presentation are developed in great detail, this does not remove the problem of subjectivity when checking written works students: the same presentation (and not just an essay!), checked by different teachers, is assessed by them differently - from 5 to 3.

6 The current practice of assessing presentations is complicated by the fact that the teacher evaluates ordinary presentations according to one system - the traditional1, and examinations (new forms of certification) - according to another, to which he is not psychologically accustomed2. If we compare the old criteria with the new ones, it turns out that they basically remained the same. The content of the detailed presentation is assessed in terms of: 1) the accuracy of the transmission of the original text and the presence of factual errors (from 3 to 0 points); 2) semantic integrity, speech coherence and sequence of presentation (1-0 points); 3) accuracy and clarity of speech (2-0 points).

Russian language lesson in grade 9 on the topic: "Preparing for a concise presentation of the text." Lesson objectives: - to teach to isolate the main thing in the information, to shorten the text in different ways, correctly, logically and concisely

Learning to write a concise summary Objective: Learn to write a concise summary. Student tasks: know how to compress text; continue to develop the skill of competent writing; improve the ability to define a topic,

Russian language. OGE. Experience and mistakes. Aryatkina Isabella Anatolyevna teacher of Russian language and literature, gymnasium 2, Vladivostok, 2016. Myths Myth 1. I don't need this! Myths Myth 2. It's easy to know all the rules

Explanatory note Methodical development lesson Preparation for writing a concise presentation in the exam paper of the OGE Prepared by the teacher of the Russian language and literature Milchinskaya Olesya Vladimirovna

Municipal state educational institution "Troitskaya secondary school" of the Kochkovsky district of the Novosibirsk region Working programm training course "BASICS OF SENSE READING AND WORKING WITH TEXT" for

Technological map for the lesson of literary reading in grade 2 B. Zhitkov "Brave duckling" The purpose of the lesson: - To acquaint students with the work of BS Zhitkov; -Develop expressive reading skills; teach to divide

Moscow 2017-2018 academic year Examination dictionary GIA (state final attestation) exam, assuming a specific procedure. OGE (main state exam) state form

Ministry of General and Vocational Education of the Sverdlovsk Region Education Department of the Administration of the City of Yekaterinburg Municipal Autonomous General Educational Institution Secondary General Education

The program of the elective course in literature "Teaching the writing of essays in different genres" Grade 10 Explanatory note Most children are not able to independently prepare for the final exam,

Concise presentation If the task of detailed presentation is to reproduce the content of the original text as fully as possible while maintaining the author's style, then a concise presentation requires selection skills essential

Ministry of Education and Science of the Russian Federation FEDERAL STATE BUDGETARY EDUCATIONAL INSTITUTION OF HIGHER EDUCATION "SARATOV NATIONAL RESEARCH STATE UNIVERSITY

Appendix 1 What educational skills are needed for a younger student when reading In accordance with the structure learning activities reading skills can be divided into four groups: orientation (planning),

Planned results of the study of the subject in literary reading Grade 2 Title of the section Subject results Metasubject students will learn the student will have the opportunity to learn the results of learning to read texts

ANNOTATION TO THE WORKING PROGRAM Subject Level of education Program developers Regulatory and methodological materials Implemented by the teaching materials Aims and tasks of studying the subject Literary reading Primary School (1

Item: literary reading Class: Grade 3 system "School 2100" authors R.N.Buneev, E.V.Buneeva Lesson topic: V. Dragunsky "Secret becomes apparent" reading and analysis of the story Purpose: To form the ability through

STAGES OF UNDERSTANDING TEXT INFORMATION: FROM A SEPARATE STATEMENT TO TEXT Dolinina Tamara Albertovna GAOU DPO SO "Institute for the Development of Education" 620137 Ekaterinburg, Akademicheskaya, 16 Modern politics

MBOU "Poselskaya secondary school" Russian language lesson according to the Federal State Educational Standard Class: 5 Textbook: UMK. (Russian language. 5th grade. Program, textbook, methodological support of T.A. Ladyzhenskaya.) Topic: R / r

Concise presentation С.1 Methods of writing a succinct presentation. It's no secret that many students graduating from grade 9 have an unstable literacy. And it's not just that they haven't mastered the spelling

Methods of compressing (compressing) the text From the instructions for the execution of the work Part 1 includes one task and is a small written work on the heard text (compressed presentation). Original

PEDAGOGICAL ADVICE "DEVELOPMENT OF SKILLS OF WORKING WITH TEXT AS A MEANS OF ORGANIZATION AND TRANSMISSION OF INFORMATION" * What is text? "TEXT" "TEXTILES" "TEKSTUM" "WOVEN" * Text - any imprinted in writing

Explanatory note A text devoid of meaning attracts no one and withers as soon as it is born. Viktor Gubarev, historian, publicist. The purpose of the program of the circle "Secrets of the Text" is to form

Specification of complex work for 5th grade students (assessment of metasubject results) 04-05 academic year Purpose of the work: assessment of 5th grade students of metasubject results, formation

ANALYSIS OF THE RESULTS OF GIA-9 IN RUSSIAN LANGUAGE 2014 The current stage of modernization and development of Russian education determines the form and content of the final attestation of 9th grade students. As in the previous

GOU TsPMSS "Personality" teacher-speech therapist Diaghileva E.A. Development of coherent speech junior schoolchildren with OHR and ZPR. Coherent speech is not just a sequence of related thoughts that are expressed in precise

Administration of the urban district of Revda Municipal autonomous educational institution "Eurogymnasium" School methodological association of teachers of humanitarian disciplines Considered at a meeting of the methodological

Explanatory note The program was developed on the basis of the Federal state model of standard primary general education, the concept and spiritual and moral development and upbringing of the individual

The system of assessing metasubject results in the basic school of sciences Shestukhina Irina Yurievna, associate professor of the department liberal education, Cand. philol. Evaluation of metasubject results Grading system

A number of basic rules that will help to achieve success in studies 04/07/11 12:21 O. A. Sokolova. Sokolov A.A. Honored teacher of Russia, teacher of primary grades, secondary general education school 712

TYPES OF READING IN RUSSIAN LANGUAGE LESSONS Reading is one of the types of speech activity, which consists in translating an alphabetic code into a sound one, which manifests itself either in external or internal speech. Characteristic

Analysis of the results of the state final certification of graduates of the 9th grade in the Russian language

Analysis of the reading lesson by Leo Tolstoy "Two brothers" Lesson type: Learning new material. This lesson corresponds to the calendar-thematic planning, is the first in the study of the new section "Works

Municipal budgetary educational institution "Pereyaslovskaya basic general education school 9" 663972, Russian Federation, Krasnoyarsk Territory, Rybinsk District, s. Pereyaslovka, st. Soviet,

REMINDERS for homework. Difficulty doing homework. School practice shows that students are not always able to properly organize the preparation of homework and allow

Memo for students "Rules for doing homework" 1. You need to carefully write down the assignment in a diary as instructed by the teacher, you should not leave this action at the end of the school day, hoping for help

Speech by Shiroukhova I.P., teacher of Russian language and literature, on the topic "How to prepare students for passing the OGE" The teacher always has questions: "How to prepare children for the successful passing of the OGE?"

Municipal budgetary educational institution "Secondary school 7" APPROVED by the Order of MBOU SOSH 7 of 29.08.2014. 275 WORKING PROGRAM of an elective academic subject in Russian

Formation of communicative competence of students in literature lessons in grades 5-6 (from the experience of a teacher) Teacher of the Russian language and literature Safronova Yu.A., higher qualification category Slide

Lesson "Expressive and compositional capabilities of the headline complex of newspaper publications", grade 8 Lesson type: learning new material Objectives. Personal: improve your speech, satisfy a need

CRITERIAL ASSESSMENT At the lessons of the Russian language and literature Assessment criteria A Knowledge of the system of language and speech 8 points B Practical spelling and punctuation literacy 10 points C Content

1 What is a retelling, and what it should be Retelling is one of the most important types of work that unites all subjects in school, both humanitarian and technical. Usually, retelling is understood as a statement

Organization of work on the presentation Materials of the site http://www.uchportal.ru/publ/15-1-0-4348 Adambaeva Lyudmila Anatolyevna, primary school teacher, highest qualification category MCOU "School 5", Moscow region

Explanatory note The current stage in the development of teaching methods is characterized by the tendency to merge language teaching and speech into a single whole. The system of state attestation of 9th grade students has been updated

TECHNOLOGICAL MAP OF THE LESSON ON FGOS Name of the teacher: Markina I.I. Subject / class: Russian, 5 a Date: 2014 Topic: "Circumstance" General information about the lesson Purpose: to create conditions for the formation of linguistic

DEVELOPMENT OF CONNECTED SPEECH OF STUDENTS WITH Hearing Impaired II STAGE OF LEARNING IN RUSSIAN LANGUAGE LESSONS EV Dorofeeva Kirov Regional State General Educational State Institution "General

Municipal educational institution, secondary school 2 APPROVED: Director of secondary school 2 MS Krylova Order of 20 g. Work program in the Russian language "Teaching the writing of the presentation

Instructions for performing the work The examination work consists of three parts, which include 15 tasks. 3 hours 55 minutes (235 minutes) are allotted for the execution of the examination work in the Russian language.

Technological map of the lesson full name teachers: Kovaleva Yu.A. Subject: Russian Class: 5 "B" Lesson type: presentation Subject RR Concise exposition according to V. Maslov's text, p.

Analysis of the test exam in the Russian language in the 9th grade of the educational institution of the Adamovsky district. There are 300 graduates studying in the 9th grade of the Adamovsky district. On April 12, 2016, 295 students wrote a test exam in Russian.

Explanatory note In the modern school, when the priorities are given to developmental learning, the main means of development have become the teaching of transformative and evaluative activities. Transformative activity

EXPLANATORY NOTE TO THE STATE FINAL CERTIFICATION IN RUSSIAN LANGUAGE FOR EDUCATIONAL PROGRAMS OF SECONDARY GENERAL EDUCATION IN 2018 STATEMENT 1. Methodological commentary Texts of statements

The program of the elective academic subject in the Russian language "in grade 10-11" Culture of written monologue speech "Explanatory note Working program of the elective academic subject" The culture of writing

Russian language grade 3 for institutions of general secondary education with Russian and Belarusian languages ​​of instruction Approximate calendar-thematic planning Antipova, MB Russian language: textbook. manual for

MBOU "Education Center of the Beringovsky village" Article by the teacher of the Russian language and literature Yanus OA The method of teaching writing an essay-reasoning. Teaching reasoned skills in a modern school

BASIC STATE EXAMINATION (OGE) 2016 GIA-9 The government has developed some changes in the examination area, some will affect the OGE-2016. GIA since 2014 has two forms of GVE state

Productive communication skills: 1. Structured perception of the text. 2. Ability to highlight micro themes. 3. To highlight the main thing, cut off the secondary. The purpose of the work is information processing of the text, the selection of lexical and grammatical means for conveying brief information.

Student mistakes 1. Inability to recognize words and expressions in the text that mark the key points of the content. 2. Gravitation towards full presentation, which does not require analysis of the content of the original text. 3. Skipping micro themes or expanding the information of the source text - the lack of adequate listening comprehension.

Concise text Let us think about how often we get upset that we did not understand someone? Or maybe we suffer much more often from the fact that they do not understand us? Of course, the latter happens more often. When they do not understand us, we feel hurt. We are upset that our parents, teachers, classmates do not understand us. We are worried to tears that we are not understood by those who we like, whom we respect. We are sure that we ourselves are able to understand, and we understand all of them, but they are ... But as long as we are sure, while we judge ourselves less severely than others, just misunderstanding is born. Maybe we should just start with ourselves, with what we ourselves lack? Perhaps this is the first step to understanding? For example, do we have enough imagination? After all, imagination, as one of the writers accurately noted, is not needed at all in order to come up with something non-existent or unrealizable. Imagination is needed in order to capture the hidden corners of the human soul with the mind's eye. Without imagination, there is no image of the world and the image of a person. And without these images, life becomes flat and simplified, in it we are surrounded only by models and schemes, and not living people. But in order to understand a person, imagination alone is not enough, you also need close attention to people, the desire to peer, to listen attentively with benevolent sympathy, with heartfelt sympathy. Compassion is needed, which encourages us to listen not only to words, but also to intonation, to peer not only into the obvious, but also into the imperceptible. With such an attitude, the difference in views and feelings never turns into misunderstanding. (Based on materials from Internet sites)

Microthemes of the text: 1. We often worry because they do not understand us, but we are sure that we ourselves understand those around us. 2. Perhaps the lack of understanding is born from the fact that we judge ourselves less severely than others, and do not notice that we ourselves are lacking in something. 3. The role of imagination in understanding the world and man. 4. To understand a person, apart from imagination, you need attention and compassion.

IR 1 - 3 points “We are rarely upset that we did not understand someone, but we often worry that we were not understood. We always think that we know how to understand others, but they don't. Or maybe that's why misunderstanding is born, that everyone judges himself less severely than others? Probably the first step to understanding is to think about what we ourselves lack. For example, do we have enough imagination, which is needed just in order to understand all the richness and diversity of human life and soul? Indeed, without imagination, there is no image of the surrounding world. And without this, life becomes flat, and people become schematic. But imagination alone is not enough to understand. We also need attention and compassion for people. Then understanding is possible, even if people have different views. " (116 words)

IK1 - 3 points “Often we are frustrated by the lack of understanding on the part of relatives, friends, acquaintances: it seems to us that we perfectly understand others, while others do not understand us. This is natural, since a person rarely thinks about the reasons for his misunderstanding, looking for a problem in someone else. Wouldn't it be better to start with ourselves, by thinking about what we ourselves lack? One of the most important criteria for mutual understanding is imagination - not that which gives rise to non-existent and unrealizable in thoughts, but that which allows you to embrace with your mind and heart all the wealth of feelings and emotions, all the wealth of life, its joys and tragedies ... "

SG1 - 2 points “But not only imagination helps us to understand another person. You also need close attention, compassion, the desire to peer, listen, notice not only words, but also intonations, peer not only into the obvious, but also into the imperceptible. And then the difference in views and feelings will never grow into misunderstanding. Only by knowing oneself, and then those around him, one can reflect on mutual understanding, look for the causes of problems in relationships and solve these problems. "

SG1 -1 point “People often do not understand each other. We are upset that we are not understood. But that's because we lack imagination. And imagination is not only about fantasy. Imagination helps to imagine the image of a person, to look into his soul, into the most hidden corners. Without imagination, you cannot create an image of the world and a person, everything will turn out to be similar to a diagram. But imagination alone is not enough to create an image of a person and understand it. You also need to treat him attentively and with sympathy. Then there will be no misunderstanding. " (79 words)

IK1 -0 points "Very often we ask ourselves the question:" Do they understand us? " The answer is usually no. And sometimes it is upsetting to tears because even our closest friends do not understand us. But does the reason for this lie within us, in the confidence that we understand, we are trying to understand others? Probably, before blaming others, you need to look into yourself, figure out how I feel about others. But most of all, attention is needed to people, participation in their problems, compassion for their grief. It is necessary not only to understand the meaning of words, but also to feel the mood, emotions of a person. If a person understands himself, then he will be understood by those around him. " (113 words)

IK1 - 0 points The first micro-theme is reflected only partially, an important thought is missed: “We are sure that we ourselves understand those around us”. The second micro-theme has been replaced by another; speaking of imagination, the author does not reveal that function, which is emphasized in the original text as the most important: imagination is necessary for understanding the world and man. Omitting 3 micro themes, the author adds a micro theme that does not exist in the source text (the last sentence of the presentation)

IK2 -1 point The examinee used 1 or more methods of text compression (substantive, linguistic). “People often do not understand each other. We are upset that we are not understood. But that's because we lack imagination. And imagination is not only about fantasy. Imagination helps to imagine the image of a person, to look into his soul, into the most hidden corners. Without imagination, you cannot create an image of the world and a person, everything will turn out to be similar to a diagram. But imagination alone is not enough to create an image of a person and understand it. You also need to treat him attentively and with sympathy. Then there will be no misunderstanding. " (79 words)

2. Replacing a part of a sentence with a definitive pronoun with a generalizing meaning ("everything"), excluding repetitions and simultaneously merging two sentences into one ("Without imagination, there is no image of the world and an image of a person. And without these images, life becomes flat and simplified, we are surrounded by just models and schemes, not living people "-" Without imagination, you cannot create an image of the world and a person, everything will turn out to be similar to a diagram "). Compression methods - language tools

Compression techniques 1). Exclusion of secondary information (meaningful technique); 2). Merging two sentences into one (“We are rarely upset that we did not understand someone, but we often worry that we were not understood”); 3). Exclusion of a fragment of a sentence, different types of substitutions (“We always think that we can understand others, but they don’t have us”).

IK2 - 0 points “Misunderstanding between people is born imperceptibly. Many people think they understand their close friends well. And their friends don't really understand them. The second example is often encountered in life. When parents, teachers, classmates do not understand us, we get upset. And if we are not understood by those people who we like and whom we respect, then we grieve to tears. "

Concise summary Let us think about how often we get upset that we did not understand someone? Or maybe we suffer much more often from the fact that they do not understand us? Of course, the latter happens more often. When they do not understand us, we feel hurt. We are upset that our parents, teachers, classmates do not understand us. We are worried to tears that we are not understood by those who we like, whom we respect. We are sure that we ourselves are able to understand, and we understand all of them in us, but they ...

Concise summary Let us think about how often we get upset that we did not understand someone? Or maybe we suffer much more often from the fact that they do not understand us? Of course, the latter happens more often. When they do not understand us, we feel hurt. We are upset that our parents, teachers, classmates do not understand us. We are worried to tears that we are not understood by those who we like, whom we respect. We are sure that we ourselves are able to understand, and we understand all of them, but they ...

Concise summary Do we have enough imagination, for example? After all, imagination, as one of the writers accurately noted, is not needed at all in order to come up with something non-existent or unrealizable. Imagination is needed in order to embrace with the mind and heart all the richness of life, its situations, its turns, in order to see the hidden corners of the human soul with the mind's eye. Without imagination, there is no image of the world and the image of a person. And without these images, life becomes flat and simplified, in it we are surrounded only by models and schemes, and not living people.

Concise exposition But to understand a person, imagination alone is not enough, you also need close attention to people, the desire to peer, listen attentively with benevolent sympathy, with heartfelt sympathy. Compassion is needed, which awakens us to listen not only to words, but also to intonation, to peer not only into the obvious, but also into the imperceptible. With such an attitude, the difference in views and feelings never turns into misunderstanding.

Modern approaches to writing a presentation.

Basic requirements for presentation. Types of presentation.

Comprehension and memorization of text based

recreational imagination

Presentation is one of the traditional types of writing in school - in last years is experiencing a real boom. It has become the most common form of the final exam. Suffice it to say that in all three versions of the final attestation in the 9th grade, the presentation is the first part of the examination work.

According to the secondary school curriculum, students of the pi-clow of presentation from the 1st grade, therefore, this type of work is familiar to both ninth-graders and teachers. However, despite the seeming ease of the examination, many students fail because of a fundamentally incorrect attitude towards presentation: “I listened twice, memorized and wrote down. The main thing is no mistakes. "

But, before starting a detailed conversation about presentation, we suggest that you answer a few questions that inevitably arise before every teacher if he is not satisfied with the established practice of teaching presentation.

What is more difficult for your students: presentation or composition?

Why is the presentation written? What skills do we develop by teaching children to reproduce someone else's text?

Which texts are "suitable" for presentation, and which are not? What good text for presentation?

Presentation: a student's perspective

It is even better if these questions are answered not by the teacher, but by the students themselves. Therefore, at the beginning school year we will offer the class a small questionnaire that allows them to express their attitude to the presentation in a free form.

Student Questionnaire, or "Seven Questions About Presentation"

1.Do you enjoy writing speeches?

2. What is more difficult for you to write - an essay or a statement? Explain why.

3. Why learn to write essays? Where can this skill now and later be useful to you?

4. What texts would you choose for presentation: about nature, about love for your native country, about outstanding people, about historical events, about the school, about the problems of concern to teenagers, oh ...?

5. If you were forbidden to take notes while listening to the text, would it be more difficult for you to write the summary?

6. Which presentation is easier to write - detailed or concise? What does it mean to "compress" the text?

7. What difficulties do you experience while writing a presentation?

If you have an average class, then the answers are likely to be the same as we do.

Only every fifth ninth grader likes to write a presentation. Most of the students find this activity very tedious, boring and difficult, especially "if you write an essay every week."

70% of the respondents answered that it is more difficult for them to write an essay than an exposition, since “in an exposition, you just need to retell someone else's text, and an essay requires your own thoughts”; “In an essay you come up with your own, and the presentation is almost dictated, you just have to have time to write it down”, “you don’t need to think about the presentation”. And yet there are a lot of those who experience difficulties in reproducing other people's thoughts. Here are some excerpts from the questionnaires: “I remember the text poorly”, “I need an auditory memory on the verge of fiction, but I have it at zero”, “I am inattentive, I am often distracted when I listen to the text”, “I suffer from a lack of logic”, “ I don’t understand what they read ”,“ I don’t remember the end ”,“ I have a small vocabulary, ”“ I cannot express a thought, ”“ I get confused in endless repetitions, ”“ I write illiterately, ”etc.

Most often, ninth graders complain about their memory and inability to write quickly. Here is a typical answer: "The text is very large, but it is read only twice, I have no time to write anything down." And only in one of 120 works a completely “adult” approach to business was encountered: “To write an exposition, you need to understand the text, remember it and be able to highlight microthemes... This is the main difficulty. "

The ability to write a presentation, according to the ninth-graders, can be useful "when passing the exam", "when taking notes of lectures at the institute", "for journalists or reporters, if you need to quickly write down what the" star "is talking about, and the recorder breaks" , "In the police when you need to write a protocol." Many people generally deny the need for such a skill. However, there are also quite mature judgments: presentation is memory training, and any person needs a good memory.

The prevailing practice of writing a presentation - deliberately slow reading of the original text, often more reminiscent of dictation, and permission to take notes during the second hearing - led to the fact that the main task for our students was the desire to write down as quickly and as much as possible. If the students were deprived of such an opportunity, less than 30% would cope with the presentation. Here is one of the typical answers: "I hardly write, I have never tried this." In fact, verbatim writing of the text is no better than ordinary cramming. Memorization without understanding, inherent in children of preschool and primary school age, practically returns ninth graders to childhood.

First of all, the text you have heard must be understood, and only a few graduates possess this skill. According to the results of a survey of 200 schools in 76 regions of the country, in which about 170 thousand schoolchildren of the first and tenth grades participated, more than 50%> 10th graders found it difficult to extract meaning from the elementary text, only 30% of you said your opinion in connection with what they read, in 90% about high school students there is no full understanding of the meaning of a literary text.

Unfortunately, the teacher himself often underestimates the role of understanding in teaching presentation. Meanwhile, right organized work in preparation for presentation - this is primarily the work of understanding and memorizing the text. If a student misses any significant thoughts of the original text, distorts the main idea, does not feel the author's attitude, this means that the text is not understood or is not fully understood.

EXAMPLE 1... Source text "A discovery that was two hundred years late»

Here is a cautionary tale.

A hundred years ago, in one city in Russia, there lived a ma-themed. All his life, he patiently struggled to solve a difficult math problem... Neither strangers nor acquaintances could understand what the eccentric was suffering over.

Some felt sorry for him, others laughed at him. He paid no attention to anyone or anything else. He lived like Robinson on a desert island. Only his island was surrounded not by a sea of ​​water, but by a sea of ​​misunderstanding.

All the mathematical rules, except for the most important ones, which he managed to learn when he was in school for a short time, he rediscovered for himself.

And what he wanted to build out of them, he built the way Robinson built his boat. I suffered the same way, I was just as wrong, I also did unnecessary work and began to redo everything all over again,

because no one could help or advise him.

Many years later. He finished his work and showed it to a math teacher he knew. The teacher understood it for a long time, and when he figured it out, he transferred his work to the university. A few days later, the eccentric was invited by scientists. They looked at him with admiration and pity. There was something to admire and something to regret. The freak has made a great mathematical discovery! So the chairman of the meeting told him. But, alas, two hundred years before him this discovery had already been made by another mathematician - Isaac Newton.

At first the old man did not believe what he was told. It was explained to him that Newton wrote his books on mathematics in Latin. And in his old age he sat down for textbooks Latin... I learned Latin. I read Newton's book and found out that everything that was said to him at the meeting at the university was true. He actually made a discovery. But this discovery has long been known to the world. Life was lived in vain.

This sad story was told by the writer N. Garin-Mikhailovsky. He called the story of the eccentric "Genius" and made a note to the story that this story was not invented, but actually happened.

Who knows what discoveries this unknown genius could give people if he had previously learned about Newton's discovery and had directed his talent towards discovering that which is not yet known to people!

(325 words) (S. Lvov)

Presentation text

There was one mathematician in the world who solved one problem all his life. But no one wanted to help him, everyone just laughed at him. He lived like Robinson on a desert island. He himself discovered all the mathematical rules that are taught in school.

Many years later, the eccentric showed the solution to the problem, to which he devoted his whole life, to one familiar teacher. The teacher could not figure out the problem for a long time and showed it to the scientists. The old man was invited to a meeting at the university. Everyone began to admire him, because he, it turns out, did outstanding discovery.

One writer who told the story of the creepy mathematician correctly named his story "Genius".

The work does not require comments. And the point here is not a violation of logic or the poverty of the language. The problem is much more serious: the text is simply not understood, it is not understood the main idea(“Humanity would recognize a mathematician who made a great discovery a genius, if Newton had not made this discovery two hundred years before him.”) Key words and phrases were left without attention , looked with admiration and pity, a sad story has long been known to the world). Even such strong signals as a speaking headline and sentences directly revealing the author's position (they are highlighted in the text) passed by the author of the presentation.

It must be confessed that more than half of the class did not cope with the task of formulating the main idea of ​​the text. Here are statements that indicate a complete misunderstanding of the text.

This man all his life achieved everything himself, through his labor he received an education. He was a genius and managed to discover the laws of Newton himself.

The meaning of this text is to show that there are people who cause us sympathy and pity.

In the life of a genius - strange people, and it is difficult for them to communicate with people, to be in society, so no one recognizes our hero. But I believe that his suffering was not wasted, since this discovery was the goal of his life and he achieved everything that was planned.

I think that the main problem of this text is the unwillingness of people to help each other, unwillingness to accept help and, in general, the problem of relations between people. If the mathematician had listened to others, he would not have lived his life in vain. He could have turned his mind towards something more useful.

And only in some works the understanding of what was read was manifested.

1. “The main idea of ​​the text can be formulated using the well-known expressions“ to invent a bicycle ”and“ to discover America ”. Indeed, why reinvent what others did before you long ago?

Unfortunately, even today such cases are not uncommon. Therefore, before starting to invent something, you must first study well the chosen field of science. To understand what and to what extent others have done before you. "

2. “A sad story was told, or rather, told to us by Sergei Lvov. It is a pity for this miracle, this "unknown genius" who spent all his strength on the discovery made by Newton two hundred years before him.

In order not to open what has already been discovered, you need to read a lot, study a lot, communicate with other scientists, and not surround yourself with a "sea of ​​misunderstanding." This is precisely the main (I must say, rather trivial) idea of ​​this text.

The hero of V. Shukshin's story "Persistent" found himself in a similar situation, who took up the invention of a perpetual motion machine. Of course, nothing came of this, because the creation of a perpetu-um-mobile, as you know, is contrary to the laws of physics. Monya (that is the name of Shukshin's hero) did not believe this and "gave himself up entirely to the great inventive task." At the end of the story, the engineer directly addresses the "stubborn" Mona: "You need to study, my friend, then everything will be clear." Despite all its banality, the advice is actually correct. If this "genius" - a mathematician had received a good mathematical education (most likely he simply did not have such an opportunity), he would have directed his talent towards discovering things that are not yet known to people ”.

Is it possible to put the presentation at the service of understanding the text? What are the current approaches to writing a presentation? What can be done so that the presentation from the "boring" genre, as it is most often perceived by students, becomes an effective means of their development?

Presentation as a genre

But first, let's find out the features of presentation as a genre.

Presentation - a type of educational work, which is based on the reproduction of the content of someone else's text, the creation of a secondary text. The words presentation and retelling are often used as synonyms, but the term retelling more often refers to the oral form of text reproduction.

The specificity of the presentation follows from its nature as a secondary text.

Let us turn to the class with the question: "What should not be confused with the presentation?" Answer: "Of course, with composition" - will not follow immediately. We asked this "childish" question for a reason. It is necessary once and for all to explain to students that these genres have different tasks and different specifics. Unlike an essay, which is completely "led" by the author, nothing that is not in the original text should not be in the presentation. The appearance of background knowledge, facts and details that are not contained in the text in "their" text is by no means encouraged. On the contrary, any "creativity", fantasizing of this kind is regarded as a factual mistake and leads to a decrease in scores.

So, in the presentation about Pushkin and Pushchin (text No. 1 from the well-known collection), the student should not mention that the meeting took place on January 11, 1825 in Mikhailovskoye, but in the presentation about the Battle of Borodino (text No. 47) in the phrase "Ku -tuzov first intended to "start a new battle in the morning and stand to the end" no need to indicate the authorship of the quotation. As a rule, errors of this kind are more characteristic of strong, erudite students. It is to them that information about the specifics of presentation as a genre should be addressed first of all.

Types of statements

Traditionally, the following types of presentation are distinguished.

By the form of speech: oral, written.

By volume: detailed, concise.

In relation to the content of the original text: complete, selective, presentation with an additional task (add the beginning / end, make inserts, retell the text from the 1st-3rd l., Answer the question, etc. .).

According to the perception of the original text: presentation of the read, perceived visually text, presentation of the heard, perceived by ear, presentation of the text, perceived both by ear and visually.

According to the purpose of the conduct: training, control.

The features of all these types of presentation are well known to the teacher. We only note that in the 9th grade, you should not concentrate both your own efforts and the efforts of students on any one species. In the practice of preparing for the exam, different texts, different statements and, of course, different types of work should be present, otherwise boredom and monotony - the main enemy of any activity - cannot be avoided. But, since there is very little time for presentation in the graduating class (you also need to go through the program), it is best to select small texts for training and train one specific skill.

Requirements for texts

The texts of the presentations do not satisfy not only us, teachers, but also children: they seem to them to be monotonous, different, "pretentious", incomprehensible, too long ("try to retell a text of 400-500 words yourself, and there are most of them in collections!" ). The game called “If I were a composer of texts, I would suggest texts about ...” turned out to be very effective: the students named a variety of topics - about school, about problems, exciting teenagers, about interesting people, about great discoveries, about technology, sports, music, about relationships between people and even about the future of mankind. "Anything but boring!"

Why do children name these particular topics? What is leading in their choice? Without realizing it themselves, they act according to one criterion - emotional, choosing texts that, first of all, evoke positive emotions.

The selection of non-boring - cognitive, exciting, problematic, intelligent, and sometimes humorous - texts excites and maintains cognitive interest, creates a favorable psychological climate in the lesson. Best of all for this purpose are popular science and some publicistic texts, less often - and only with a specific educational task - fiction.

The question of whether it is possible to offer texts from classical works for presentation is controversial. Many methodologists believe that by transmitting close to the text the content of an artistically impeccable fragment, students acquire those turns of speech that belong to Lermontov, Gogol, Tolstoy ... During the presentation, the mechanism of imitation is turned on, which has a beneficial effect on speech child. But what does it mean to “retell in detail” by Lermontov or Gogol (for example, the texts “On Pechorin”, “On the Thick and Thin by Gogol” or “On Sobakevich”)? If the passage is not very long, which cannot be said about the examination texts, it can be memorized almost word for word with incredible effort. However, in this case, there is no need to talk about any kind of understanding and development of speech. The situation with a detailed presentation of the classics was parodied by the students themselves in the genre of "harmful advice": "... you must replace all the author's words with your own and at the same time preserve his style" (school No. 57 in Moscow, 7th grade, teacher - SV. Volkov).

How should the presentation be carried out?

At first glance, the question may seem rather strange: the methodology for conducting the presentation is known to any teacher.

But it is worth giving up some of the familiar schemes and patterns.

Let's talk about the presentation technique proposed in our textbooks.

The teacher reads the text for the first time. Pupils, listening, try to understand and remember the text. After the first reading, they retell the text in order to understand what they have not remembered. This work usually takes 5-7 minutes.

The teacher reads the text a second time. Pupils pay attention to those passages that they skipped during the first reading. Then they re-retell the text again, make the necessary notes on the draft, draw up a plan, formulate the main idea, etc. And only after that the presentation is written.

Unlike the traditional technique, during the retelling, children note not what they already remember well, but what they missed while listening to the text. The new technique takes into account the psychological mechanisms operating in the process of perceiving a text - the mechanisms of memorization and understanding. Speaking the text to himself, the student, even if not immediately, realizes that he did not remember some parts of the text because he did not understand them. At the initial stage of teaching, one of the students can retell the text. Control over memorization and understanding in this case is carried out from the outside - from the side of other students: they note factual errors, omissions, logical inconsistencies, etc. As a result of such joint activities with the class, even the weakest students gradually learn to retell.

The role of such a mental process as re-creating imagination deserves a separate discussion.

Understanding and memorizing text based on recreational imagination

As you know, in psychology, different types of imagination are distinguished: creative and recreational. Unlike creative imagination, which is aimed at creating new images, re-creating is aimed at creating images that correspond to the verbal description. It is the recreational imagination that permeates the entire educational process; without it, it is impossible to imagine full-fledged learning.

Its role is especially important when reading an artistic text. “Of course, this does not apply to all reading. Such reading, which pursues only one goal - to find out "what is being said here and what will happen next," writes the famous psychologist BM Teplov, "does not require active work of the imagination. But such reading, when mentally" you see and you hear "everything that is being discussed, when you mentally transfer yourself to the depicted situation and" live "in it - such reading is impossible, but without the most active work of the imagination."

The above can be fully attributed to the writing of the presentation.

The task of the teacher is to make sure that, when perceiving a literary text, the student mentally “sees and hears” what he is listening to (reading). This is, of course, not easy to achieve. Recreational imagination in different people and children in particular is not developed to the same degree. Only a very few (according to our experiments, less than 10%) are able to see with their "mental gaze" the images created by writers.

EXAMPLE 2

Source text

In the fall, the whole house is covered with leaves, and in two small rooms it becomes light, like in a floating garden.

Stoves crackle, smells like apples, cleanly washed floors. Tits sit on branches, pour glass balls in their throats, clink, crackle and look at the windowsill, where a hunk of black bread lies.

I rarely sleep in the house. I spend most of my nights on the lakes, and when I stay at home, I sleep in an old gazebo in the back of the garden. It is overgrown with wild grapes. In the morning, the sun hits her through the purple, purple, green and lemon foliage, and it always seems to me that I wake up inside a lit Christmas tree.

It is especially good in the gazebo on quiet autumn nights, when a slow, sheer rain is making noise in the garden in an undertone.

The cool air barely rocks the tongue of the candle. Angular shadows from grape leaves lie on the ceiling of the gazebo. Moth, like a clump of gray raw silk, sits down on an open book and leaves a glittering dust on the page.

It smells like rain - a delicate and at the same time pungent smell of moisture, damp garden paths.

(154 words) (K. Paustovsky)

We specially took descriptive text for analysis. If the text has a dynamic plot, is full of dialogues, then when reading it, the imagination, as a rule, turns on involuntarily. With a descriptive text, the situation is different: its full understanding and memorization is impossible without the activity of imagination, the inclusion of which requires certain volitional efforts.

The text of K. Paustovsky, proposed for presentation, cannot be understood and retellable if the reader does not see the paintings created by the author, does not hear the sounds described, does not smell. Many students, having listened to the text for the first time, said that they did not remember anything. After they were asked to retell only what remained in their memory, some were able to recreate only individual elements of the depicted picture, others presented a picture that was far from the author's. And most importantly, such children inevitably had disruptions in understanding.

Here are two examples of detailed statements on this text. (Under the terms of work, students were not allowed to write anything down during the hearing.)

First presentation

In the fall, the whole house is littered with foliage, and the two small rooms are as bright as day. The house, like a sprawling garden, smells of apples, lilacs, and washed floors. Outside the window, tits are sitting on a branch, they are sorting glass balls on the windowsill and looking at the bread.

When I stay at home, I spend the night mostly in a flat, overgrown with wild grapes. In the morning, I light purple and purple lights on the Christmas tree.

It is especially good in the gazebo when the autumn rain is falling outside the window. It smells like rain and damp garden paths. "

Second presentation

In the fall, the house, covered with leaves, is as light as in a sprawling garden. You can hear the crackling of hot ovens, smell of apples and washed floors. Outside the window, on the branches of trees, tits sit, fingering glass balls in their throats, ringing, cracking and looking at a slice of black bread lying on the windowsill.

I rarely spend the night in the house; I usually go to the lakes. But when I stay at home, I like to sleep in an old gazebo overgrown with wild grapes. The sun shines through the branches of grapes in purple, green, lemon, and then I feel like inside a lit Christmas tree. Angular shadows from the leaves of wild grapes fall on the walls and ceiling of the gazebo.

It is especially wonderful in the gazebo when the quiet autumn rain is making noise in the garden. A fresh breeze flutters the tongue of the candle. A butterfly flies quietly, and, sitting on an open book, this gray lump of raw neck leaves silver sparkles on the pages of the book.

At night I feel the quiet music of the rain, the delicate and pungent smell of moisture, wet garden paths "

(142 words)

It is not hard to guess, the author, which of the two statements was able to turn on his imagination while listening to the text. And the point here is not in the completeness of the transmission of the content and not in the richness and expressiveness of speech, but in the fact that the second student was able to recreate the pictures described in the text in visual, concrete-sensual images; to hear the sound of rain, sounds made by tits; smell apples, cleanly washed floors ...

The first statement, with the exception of the opening and last phrases, is a rather incoherent description. It captures the individual details of the overall picture. It is not clear from the text where and when the action takes place. It seems to be about autumn, but suddenly a lilac and a New Year tree appear; tits are either sitting outside the window, or on the windowsill and at the same time sorting out glass balls - the author does not perceive metaphors and comparisons. Thus, we are talking about a misunderstanding of the text. And this case is far from the only one: out of 28 students who wrote an exposition based on this text, failures of understanding were noted in twelve.

Psychologists still do not fully understand the processes that arise during the work of the imagination. Often we cannot often check whether it works when the text is perceived or not. One of the means of checking the involvement of the imagination is precisely the retelling (presentation). If the imagination during the reading (listening) of the text was active, then the retelling will be complete and accurate. If the imagination is not turned on, the students admit a large number of inaccuracies, missing the essential, distorting images, paying attention to minor details. (Of course, this does not apply to all texts, but only to those that allow you to include a recreational image).

"Lazy" imagination makes it difficult to understand the text and often makes learning itself painful, since the child has to resort to mechanical memorization of the text, to elementary cramming.

Meanwhile, the recreating imagination, according to figurative expression the outstanding artist and scientist N.K. Roerich, "this is a subjective field of vision, a mental screen", "can be developed to an amazing degree." It is only necessary that the teacher himself understands the need to work in this direction.

Let's describe one of the most effective techniques for developing the recreational imagination.

This type of assignment is called "Include imagery." It is formulated quite simply; “Imagine that everything you read about, you see on your“ mental screen ”. Include it at every meeting with the text. " In the future, you can briefly remind of the need to activate the imagination: “Turn on your“ mental screen ”,“ Try to mentally see ... ”,“ Let your imagination work ”, etc.

The effectiveness of this technique has been confirmed by numerous experiments. Dry numbers speak for themselves: for those students who managed to turn on the imagination, memorization of the text improves four to five times.

The development of a recreational imagination is important not only in itself, but also in connection with attention, memorization, emotions, self-control, and the main thing is understanding. Without seeing the picture mentally created by the writer, the student in many cases cannot not only remember, but also understand the text.

Questions and tasks for self-control

What are the features of presentation as a genre? Which of them will you consider in your work?

How do your students feel about presentation? Conduct the questionnaire suggested in the lecture in the class or write it yourself. Tell us about the results of the survey. Do they match the data we received?

What are the requirements for the selection of texts for presentation? Find in the collections of statements or pick up on your own two texts that meet the specified requirements.

What is the role of the processes of understanding and memorization in teaching presentation?

5. If the techniques for developing the recreational imagination described in the lecture have caught your attention, try using them in your class and share your observations and conclusions. This can be done in the form of a page from a pedagogical diary or in any other free form.

Detailed and concise presentation

Analysis of micro themes. Methods for compressing text. The technology of writing an essay based on the text of the presentation

Features of a detailed and concise presentation

Whatever form of final attestation a ninth-grader chooses, he will have to write a presentation: a detailed or concise presentation with elements of an essay (traditional form), detailed (2007 version), concise (2008 version).

Analysis of the questionnaires shows that ninth-graders understand the difference between detailed and concise presentation quite well. Two-thirds of them believe that retelling, close to the text, is easier, since "you can rely on memory and the ability to write quickly." Although in the questionnaires there are also arguments, mostly naive, in favor of a concise presentation: "it is easier to write, since you will make fewer mistakes", "it has less descriptions and all sorts of different details", "teachers like brevity more."

To "compress" a text means "to shorten it, but at the same time to keep the main idea in each paragraph"; "Remove all unnecessary and leave only the main thing, and this is the most difficult"; "Give up details."

If we compare these statements with the fact that the pi-jester about the detailed and concise exposition of the Methodists, it turns out that there are not so many differences.

The task of a detailed presentation is to reproduce the original text as fully as possible, preserving its compositional and linguistic features. The task of a concise presentation is to briefly, in a generalized form, convey the content of the text, select essential information, exclude details, and find speech means of generalization. In a concise presentation, it is not necessary to preserve the stylistic features of the author's text, but the main thoughts of the author, the logical sequence of events, the characters of the characters and the setting should be conveyed without distortion.

An interesting technique that helps students to understand the features of a detailed and concise presentation is offered by the Pskov methodist F.S. Marat. He compares the original text with a large nesting doll, a detailed presentation with a smaller nesting doll, a concise presentation with the rest of the nesting dolls. “These last three nesting dolls are a concise summary of the text. In one case, for example, we were given three minutes to present (or 30 lines in the newspaper), in the other - two minutes (20 lines), in the third - a minute (or 10 lines). So we got texts of different degrees of compression, compressed expositions, and we all created them on the basis of the original. Therefore, they are somewhat in the most important similar to each other and, of course, to the first, source text ”1.

If this explanation is accompanied by an appropriate drawing or diagram, students will see that the text can be compressed to varying degrees, but the main and essential from the original text should be preserved in the secondary text.

Obviously, not every text is suitable for a concise presentation, but only one in which there is something to compress. The amount of text for a concise presentation should be larger than for a detailed one. (For some reason, this criterion is not taken into account by the authors of the latest version of the examination paper, who offer texts for a concise presentation, in which there are only 220-250 words. The pupils' reaction to the task is characteristic: “There’s nothing to squeeze!”; “ How can you shorten a text, where there are two hundred words, to nine? Leave every second word? ".)

Concise presentation is considered the most difficult type of presentation because many students do not know how to highlight the main and other important thoughts, do not know how to be distracted from insignificant information.

According to psychologists, a brief retelling is a technique that is inorganic for a child's nature. Children gravitate towards unnecessary details. And if they are not specially taught, the task of retelling the text briefly for many is absolutely impossible. This is confirmed by experimental data: only 14% of students in grades 8-9 can do such a retelling2. Often the words short and short when applied to retelling are synonyms for schoolchildren: when retelling, the text may become shorter, but at the same time the main thing often disappears, essential information is missed.

The role of this type of presentation can hardly be overestimated. It is in a brief retelling that the degree of understanding of the text is revealed; it is a litmus test of understanding. If the text is not understood or understood in part, a brief retelling will reveal all the defects of perception.

How can you teach schoolchildren to write a concise presentation? What tricks can you use? What material is the best to do this on? These are the questions that teachers usually ask.

Methods and techniques for compressing text

Concise presentation requires special logical work. There are two main methods of compression (compression) of text3: 1) exclusion of details; 2) generalization. In case of exclusion, you must first highlight the main thing, and then remove the details (details). When generalizing the material, we first isolate individual essential facts (omit the insignificant ones), combine them into one whole, select the appropriate language means and compose a new text. Which compression method to use in each specific case will depend on the communication task and the characteristics of the text.

Students do not master the named methods of text compression to the same extent. Some hardly single out the main thing and find the essential, getting bogged down in countless details; others, on the contrary, compress the text so much that nothing alive remains in it and it becomes more like a plan or diagram. In both cases, we are dealing with the difficulties of the abstraction process. However, like any other ability of human thinking, the ability to abstract is amenable to training.

Here are the types of tasks aimed at compressing text.

Shorten the text by one third (half, three quarters ...).

Shorten the text by conveying its content in one or two sentences.

Remove unnecessary in the text from your point of view.

Compose a "telegram" based on the text, i.e. highlight and very briefly (after all, every word is precious in a telegram) state the main thing in the text.

EXAMPLE 1

Exercise 1... Listen to the text, write a concise summary by cutting the text in half.

Source text

In addition to the legends about Hercules, the ancient Greeks talked about two twin brothers - Hercules and Iphicles. Despite the fact that the brothers were very similar from childhood, they grew up different.

It's still very early and the boys are sleepy. Iphicles pulls a blanket over his head to watch interesting dreams for a long time, and Hercules runs to wash to the cold stream.

Here the brothers walk along the road and see: on the way there is a big puddle. Hercules steps back, scatters and jumps over the obstacle, and Iphicles, not quite grumbling, looks for a workaround.

The brothers see: there is a beautiful apple on a tall branch of a tree. Too high, Iphicles grumbles. "I don't really want this apple." Hercules jumps - and the fruit is in his hands.

When the legs get tired and the lips dry out from thirst, and it is still far from the rest, Iphicles usually says: "Let's rest here, under the bush." “We'd better run,” Hercules suggests. - So we will overcome the road sooner.

Hercules, who at first was an ordinary boy, later becomes a hero, the conqueror of monsters. And all this only because from childhood he was accustomed to gaining daily troubles over difficulties, over himself.

The deepest meaning is hidden in this ancient legend: will is the ability to control oneself, this is the ability to overcome obstacles.

(From the magazine) (176 words)

Condensed text

The ancient Greeks have a legend about Hercules and Iphicles. Although they were twins, the brothers grew up different.

In the early morning, when Iphicles is still asleep, Hercules runs to wash to the cold stream.

Seeing a puddle on the way, Hercules jumps over it, and Iphicles bypasses the obstacle.

An apple hangs high on a tree. Iphicles is too lazy to climb after him, and Hercules here takes out the fruit.

When there is no more strength to go, Iphicles offers to make a halt, and Hercules - to run forward.

Although Hercules, like Iphicles, was at first an ordinary boy, he became a hero, because from childhood he learned to overcome difficulties, brought up will.

Using this simple example, you can show students specific techniques for compressing text:

1) exclusion of details, secondary facts (pulls a blanket over his head to watch interesting dreams longer);

2) exclusion of direct speech or translation of direct speech into indirect (4th and 5th paragraphs, someone else's speech is conveyed using simple sentences with an addition indicating the topic of speech).

When teaching a concise presentation, a certain sequence of actions is observed, which can be written down in the form of the following instructions.

Instructions "How to write a concise summary"

Highlight essential (i.e. important, necessary) thoughts in the text.

Find the main idea among them.

Break the text apart by grouping it around the essential thoughts.

Title each part and make an outline.

Think about what you can exclude in each part, what details to discard.

What facts (examples, cases) can be combined, generalized in adjacent parts of the text?

Consider the means of communication between the parts.

Translate the selected information into your own language.

Write this abbreviated, "pressed" text on the draft.

The practice of writing statements with essay elements

Before moving on to a specific analysis of the texts, we will make one general remark. In our opinion, the presentation "in its pure form" does not have the developmental effect that the presentation with the elements of the composition and the preceding work on understanding the text give. Starting from about the 8th grade, the pupils are no longer interested in writing "simple presentation". But the presentation, complicated by additional tasks aimed at highlighting the main idea, working with a heading, creative processing of the text, etc., students write with much greater interest, since it allows, firstly, deeper to understand the text, and secondly, to include the knowledge gained from the text into the already existing system of knowledge, to demonstrate their erudition, to show creativity. With this approach, the presentation in the 9th grade can be considered as a certain stage of preparation for the exam (writing part C) in the 11th grade. Retelling the text (first of all, briefly), the student is already doing serious work to understand its content, a correctly "squeezed out" text is a support for writing an essay.

Here are several types of assignments, based on which you can compose assignments for a variety of texts. Each group of tasks has the goal of training a certain technique of working with text.

I. Tasks aimed at the ability to predict the content of the text.

1. Read the title and try to guess what (who) will be discussed in the text.

After listening to the text, check your assumptions.

Examples of titles: “A discovery that was two hundred years late”, “Sad collection”, “Fifteen Louis Fifteenths” - the titles of the texts by S. Lvov; "The Man from the Moon" (about Miklouho-Maclay), "Raphael of the Violin Mastery" (about Stradivari).

2. Listen to or read the beginning of the text (first sentence, first paragraph), according to which you will write a presentation, and try to guess what will be discussed next (what events will follow this, what thoughts will be expressed ...).

The heroes of Lewis Carroll's fairy tale "Alice in Wonderland", the Hatter and the March Hare, are known to be incessantly busy drinking tea. When the dishes became dirty, they didn’t wash them, but simply transplanted to another place.

“- And what will happen when you reach the end? - Alice dared to ask.

Isn't it time for us to change the subject? - suggested the March Hare "...

(Continuation of the text: "This dialogue is cited in one of his books by the founder of cybernetics, American scientist Norbert Wiener, talking about the use of nature by man, the limited resources of its resources ..." The text is taken from the "Encyclopedia for Children" (volume "Biology") and is devoted to environmental problems.)

Exercise. Read the beginning of two texts that talk about the same thing in different ways. Find the questions hidden in the text. Express your assumptions about the future content of each text. (Time is given between reading the first and second text to complete the assignment.)

Leaning over the geographic atlas, German geophysicist Alfred Wegener made an outstanding discovery on the threshold of the 20th century: the eastern shores of South America and the western shores of Africa can be aligned just like the corresponding parts of a children's cut puzzle picture.

In 1913, the geophysicist Wegener published the book The Origin of Continents and Oceans. In it, he outlined his famous hypothesis, which was called the theory of displacement, or the theory of continental drift.

(What is this hypothesis? What facts support it?)

3. Presentation with a continuation: “Read the text in which there is no ending. Think up your own continuation of the story, and then compare it with the author's ”4. (Options. Continue the story so that it becomes clear why the author gave the story such a title. Try to add the text, suggesting a possible scenario for the deployment of events.)

II. Tasks aimed at the ability to highlight the main thing in the text (concept *).

Find sentences that contain the main idea of ​​the text, or formulate it yourself.

Find the main event.

Rank events by importance.

4. Put the most important information first, at the beginning of the presentation. The content of the rest of the text should be transmitted concisely (or selectively).

III. Tasks aimed at the interpretation of the text.

1.Explain your understanding of the statement that ...

3. Express your opinion in relation to what you read (write about your understanding of the event).

4. Correlate the read text with others or pick up a similar one in meaning.

5. Give a reasoned answer to the question asked by the author.

IV. Tasks aimed at creative processing of the text.

Make inserts in the text: enter a description of your favorite game (favorite season ...), a discussion about the hero's actions, a story about ....

Complete the text with similar examples.

Find the general and the particular in the text. Tell me first about the particular, and then retell the fragment, which is a general reasoning.

Find the parts that are the cause and the parts that are the effect in the text.

Bring the most interesting information to the first place and retell it in detail. Retell the rest of the text concisely 6.

Whatever creative task we propose for presentation, it is important that the student ponders the text, ask himself questions, build assumptions and check them in the process of reading, and after reading he was able to express the main idea, make a plan, answer questions.

However, the "dialogue with the text" does not end there. The next important step is pondering the text (reflections, reflection). At this stage, the student asks himself about the following questions:

What new have I learned from the text?

What facts were unexpected for me?

What do I think of this?

How does this compare with what I already know?

What thoughts do these facts lead me to?

Have I met anything similar before - in life, in literature, in the cinema?

What facts, examples, cases can I use in my essay?

A chain of such questions is, in fact, an algorithm for the student's inner work with the text. Of course, this is not the essay itself, but the stage of thinking, comprehending the text and taking stock of one's knowledge and ideas is very important on the way of creating the text of a future essay.

Such tasks have the following goals:

first, to actualize previous knowledge: after all, what we learn is determined by what we already know;

second, to make learning an active character: knowledge cannot be “invested”, it can only be appropriated;

EXAMPLE 2 Source text

Exercise. Read an excerpt from the book Magellan by Austrian writer Stefan Zweig. This is the beginning of the artistic biography of the great navigator. Title the text and re-pass it in detail. "

In the beginning there were spices. Since the Romans, in their travels and wars, first learned the charm of sharp and intoxicating oriental spices, the West can no longer and does not want to do without Indian spices, without spices, despite the fact that they were expensive and were constantly becoming more expensive.

At the beginning of the second millennium, the same pepper that now stands on the kitchen shelf by

any hostess, counted by the grains and was regarded as worth its weight in gold. Its value was so constant that many cities and states paid them instead of precious metals. Ginger, cinnamon, cinchona crust were weighed on jewelry and pharmaceutical scales, tightly closing the windows at the same time so that the precious speck of dust would not be blown away by a draft. No matter how absurd, at the modern point of view, such a rate, it becomes clear when you remember the difficulties of their delivery and the associated risk.

What dangers did not have to overcome on the way ships, caravans and convoys with spices, before they fell from the green bush of the Malay archipelago to their last pier - the counter of a European merchant! How many hands have the goods passed through until they reach the last buyer through the seas and deserts! Modern researchers believed that Indian spices had to pass through no less than twelve predatory hands before they found themselves on the table of a European.

Long, incredibly long way! But is there not another, shorter and easier way to achieve the cherished goal? The answer to this question began to be sought together with the monarchs and merchants of the seafarers. The courage that prompted Columbus and Magellan to move to the west, and Vasco da Gama to the south, was born, first of all, from a purposeful desire to find a new path to the east.

No matter how strange it may seem at first glance, it was spices that became a completely earthly, material reason for all those great discoveries that were made in the heroic 16th century. Monarchs and merchants would never have equipped a fleet for the brave conquistadors if these expeditions to unknown countries did not promise at the same time a thousandfold reimbursement of the funds spent.

In the beginning there were spices.

(According to S. Zweig) (306 words)

Creative task. Write how you feel about the author's idea that “it was spices that became a completely earthly, material reason” for the great geographical discoveries.

Among ninth-graders, the text evoked a variety of reactions: from "interesting, fascinating, beautiful, I've never read anything like it!" to "strange, incomprehensible, some kind of abnormal."

Here are some of the statements of the students who worked according to the method proposed above: I learned a lot of interesting facts. For example, the fact that pepper was worth its weight in gold and that when it was weighed, doors and windows were closed in the house; It turns out that spices traveled a long way before reaching Europe; The most unexpected thing was that the author considers spices to be the main, "material" reason for all the great geographical discoveries. One can hardly agree with this. I read about the expeditions of Columbus and Magellan, but nothing was said about it. They were looking for something completely different. What has it got to do with spinning? The text is, of course, interesting, but Zweig's thought is somehow strange, I would say, paradoxical. Although, maybe there is something in this; This forces us to look at the known facts from an unusual perspective, prompts different thoughts; It is probably no coincidence that the text begins and ends with the same phrase; I would like to read something else about the great navigators, perhaps Zweig himself, if the book is not very large. I will look on the Internet. (Students gave answers to questions in writing, hence the book turns and expressions.)

Whatever assessment the students gave to the text, the main thing is that he made them think, actively discuss what they read, clash different opinions, take nothing for granted, finally, aroused the desire to learn more about the subject of discussion, to turn to other books, sources information. But it is precisely these goals that we are achieving.

EXAMPLE "Source text *

Sad collection

Have you heard the name Galvani? Yes, yes, that very Italian scientist who did experiments with a frog's leg and electric shock.

Now they seem to us the gray-haired antiquity of science, but they were once an important page in the study of electricity.

When Galvani told his fellow scientists about his experiments, he was laughed at.

In 1873, the French Academy of Sciences with a majority of votes refused to accept Darwin as a member of the Academy, and five years later scoffed at Edison's invention.

When the physicist de Monsel, at the request of Edison, showed at a meeting of the academy how the apparatus he had invented for recording and reproducing sounds works, one of the academicians jumped up and shouted at him:

Scoundrel! You dare to come here to fool us with the tricks of a pathetic ventriloquist! Will any of us agree to believe that a miserable piece of metal can repeat the blissful sound of a human voice?

And most of those present supported his angry speech.

Jenner, the scientist who proposed the smallpox vaccine, was ridiculed and vilified. And the same doctor who offered anesthesia during operations.

The inventor of the steamer was hounded. They made fun of the inventor of the steam locomotive. They teased the inventor of the car.

These are just a few extracts from a very long and very sad collection. A person who made a discovery or invented something new often saw not one opponent against himself, but many. And his opponents used to tell him this:

You are wrong, because there are more of us.

Sometimes they said it politely. Sometimes sharp. Sometimes viciously. But always with the confidence that if there are more of them, those who say that this cannot be, than those who believe that this is possible, it means that they are right, and the one who persists is a stubborn person opposing himself the majority. It cannot be that the whole company was out of step, and he was alone in step!

Do you think that all of these sad stories Do they belong to the distant times, when electricity lived only in Leyden banks, locomotives and cars were just learning to walk, no one dreamed of a radio?

Of course, it would be pleasant for us, people of the XXI century, to think that all this is in the past. But this is not the case.

(S. Lvov) (310 words)

After reading the text, a conversation is held:

How many different facts of persecution of inventors are mentioned in the text? (Eight. Words and phrases containing these facts are in bold in the text.)

What is the meaning of the headline?

Imagine that the content of the text needs to be presented in the form of a 90-100 word note. Write a concise summary.

Creative task. Do you know of other similar examples? If known, write about it. If not, explain in writing the meaning of the title of the text and formulate the main idea.

Condensed text

Galvani, who is known to us for his experiments with electric current and frog's paw, was once raised by the French Academy of Sciences to ridicule. Later, fellow scientists did not accept Darwin's academy members and ridiculed Edison's invention.

Then Jenner, who proposed the vaccination against smallpox, the inventors of the steamboat, the steam locomotive, the car, were also not understood ... They were ridiculed, persecuted, reviled.

Extracts from this sad collection can be done indefinitely. Unfortunately, the situation when the majority thinks that they are right, and someone is wrong, often happens in our days.

Here are the writings of two students who chose the first topic.

1. The text of Sergei Lvov is devoted to the problem of non-recognition of scientists and their inventions. Not only in the old days, but even today, many discoveries do not meet with understanding, and those who invented them are ridiculed and persecuted.

Imagine the following picture: what would have happened if Newton had not been recognized with his discovery of gravity? Quite right, mankind would lag behind for many centuries, there would not be many other inventions, man would not field-bodies to the stars.

For some reason, scientists are often recognized as genius only after their death. For example, Jor-dano Bruno, who claimed that the Earth revolves around the Sun, was recognized as a heretic and, by order of the Catholic Church, was burned at the stake. And now we bow before the power of his mind and speak of him as a fighter for truth in science.

There have always been a lot of such stories, and, unfortunately, they will never end, because there will always be people who do not want "the whole company to go out of step, but he walked alone."

Grading the presentation

Evaluation criteria. Types of errors. Analysis of student writing

1. Evaluating the detailed presentation

Verification of statements - for all the familiarity of this work - causes serious difficulties for many language specialists. The greatest difficulties are associated with the assessment of the content of the work. And although the assessment criteria for the presentation have been developed in great detail, this does not remove the problem of subjectivity when checking students' written works: the same presentation (and not just an essay!), Checked by different teachers, is assessed by them differently - from 5 to 3.

The current practice of assessing statements is complicated by the fact that the teacher assesses ordinary statements according to one system - the traditional1, and examinations (new forms of attestation) - according to another, to which he is not psychologically accustomed2.

If we compare the old criteria with the new ones, it turns out that they basically remained the same. The content of the detailed presentation is assessed from the point of view of: 1) the accuracy of the transmission of the original text and the presence of factual errors (from 3 to 0 points); 2) semantic integrity, speech connectivity and the sequence of presentation (1-0 points); 3) accuracy and clarity of speech (2-0 points).

Let's look at specific examples of how the proposed criteria work.

EXAMPLE 1 (examination version 2008 - the second model of certification work).

Source text

V new year's eve the old Wolf felt his loneliness especially keenly. Stuck in the snow, wading through tenacious trees, he wandered through the forest and thought about life.

Yes, he never had any luck. The best pieces were snatched from under his nose by others. The she-wolf - and she left him, because he brought little hares.

And how many troubles he had in his life because of these hares! In the wolf world, hares decide everything. In front of those who have a lot of hares, everyone stands on their hind legs, and those who have few ...

The thorny trees continued to claw at the Wolf. “You can't get away from these trees, even if you run from the forest! - thought the Wolf. - When will all this end?

And suddenly ... The wolf even sat down on his tail, rubbed his eyes: is it really true? A real, lively hare sits under the tree. He sits with his head tilted and looks somewhere up, and his eyes burn as if they are showing him there.

“I wonder: what did he see there? - thought the Wolf. - Let me see you too. And he raised his eyes to the tree.

How many trees he has seen in his lifetime, but he has never seen such a tree. She is all spark-

It shone with snowflakes, shimmered with moonlight, and it seemed that it was specially removed for the holiday, although there was not a single Christmas tree on it. The wolf was so shocked by this beauty that he froze with his mouth open.

There is such beauty in the world! You look at her - and you feel how something inside you turns over. And the world seems to be becoming cleaner and kinder3.

So the Hare and the Wolf sat side by side under the New Year's tree, looked at this beauty, and something inside them turned over.

And for the first time the Hare thought that there is something stronger than wolves in the world, and the Wolf thought that, honestly speaking, happiness is not in hares ...

(According to F. Krivin) (276 words)

The text for detailed presentation is taken from F. Krivin's collection "Scientists' Tales" (section "Naive Tales") and has, in addition to the author's title "The Wolf on the Christmas Tree", a subtitle - "New Year's Tale". Since the presentation was complicated by the task of heading the text, it is natural that all these pre-text elements were not communicated to the students.

An analysis of the presentations shows that most of the students did not understand the author's intention, "did not notice" the allegorical form and stylistic features of the work. Many perceived the text as “too simple” and sighed with relief after the first reading: “Lucky! I got quite an easy one! ”,“ But there’s nothing to understand! ”.

Meanwhile, the text is not as simple as it seems at first glance. And the point is not only in its rather complicated punctuation design for ninth-graders (methods of transmitting improperly direct speech are not included in the curriculum of the basic school), but also in those genre and linguistic features, thanks to which the tale becomes "learned", "naive", "New Year's". It was they who in most cases found themselves beyond the perception of ninth-graders.

Here are a few student works.

The first presentation (spelling and punctuation errors are corrected).

The beauty of New Year's Eve

On New Year's Eve, the old Wolf felt lonely. He wandered through the forest and thought about life. He was never lucky. The she-wolf left him because he brought little hares. In the wolf world, hares decide everything.

Thorny branches clawed at the Wolf. "You can't get away from these trees," thought the Wolf.

Suddenly the Wolf even sat down on his tail and rubbed his eyes. A real hare sits under the tree. He looks up. "I wonder: what did he see there?" - thought the Wolf. He looked up at the tree.

The tree sparkled with snowflakes and shimmered with moonlight. The wolf was so shocked that he froze with his mouth open.

So the Hare and the Wolf sat next to each other. The hare thought for the first time that there was something stronger than wolves in the world. The wolf thought that happiness is not in hares.

(121 words)

In the work, only the factual information of the text is transmitted. The content of the tale as a whole is presented without distortion, but the general tone of the narrative - colored with humor, the author's ridiculous-kind attitude towards the characters, the "naivety" of the story told - is not understood by the student. Since criterion I1 does not indicate the completeness of the transfer of the content of the text, then according to this criterion the student should have received 2 points. However, even without any special calculations, it is clear that the text of the presentation is extremely simplified (a little more than 40% of the content of the original text is preserved) and there is nothing to give two points here. The presentation itself is written in "telegraph style", it is dominated by simple uncomplicated sentences (13 out of 17), from the complicated ones - sentences with homogeneous terms. Obviously, criterion I1 should be supplemented with an indication not only of the accuracy of the transmission of the content, but also of completeness.

A controversial question is how many points you need to put according to the criterion I2. There are no obvious logical errors in the work, the paragraphs (taking into account the general "telegraphic" style) are placed correctly. However, the presentation has no semantic integrity, therefore, it is impossible to give the highest score.

Only the last criterion does not cause discrepancies. "The work is distinguished by the poverty of the vocabulary and the monotony of the grammatical structure of speech." And then strictly according to the document: "Speech features of the original text in the work are not transmitted" - O points.

As you can see, the proposed criteria do not always "work" when evaluating the presentation. If you follow them formally, then the work can be evaluated with 3 or 4 points (out of 6). However, even with the naked eye it is clear that the work is weak and that, instead of a detailed one, the student wrote a concise presentation, which means that he did not cope with the task.

It seems that the following approach can help to avoid the “scissors” effect, the discrepancy between the developed criteria and the traditional practice of analyzing and evaluating the presentation: after reading the work, first you need to evaluate it as a whole, albeit in the most imprecise terms: “good / bad, strong / weak ”, then apply the criteria, and at the end check the initial presentation again and, if necessary, correct the scores.

Second presentation

Forest on New Year's Eve

On New Year's Eve, the old Wolf felt his loneliness especially sharply. Stuck in the snow, wading through the trees, he wandered through the forest and thought about life.

Yes, he was never lucky, the best pieces went to others, the she-wolf left him, because he brought few hares.

And how much trouble these hares brought him! In the wolf world, hares decide everything. Those who have a lot of them, everyone stands on their hind legs in front of those, and those who have few ...

The thorny fir-trees were scratching and scratching the Wolf. “You can't get away from them, even if you run from the forest! - thought the Wolf. "When will it all end?"

And suddenly the Wolf even sat down on his tail and rubbed his eyes: a real, living hare sits under the tree. He sits with his head up and looks as if he is being shown there.

“I wonder: what did he see there? - thought the Wolf. - Let me see you too. And he raised his head and looked at the tree.

How many trees he had seen in his lifetime, but this one! .. She was all sparkling and shimmering in the moonlight, and it seemed that she had been specially removed for the holiday, although she was not wearing a single toy. The wolf was so shocked that he sat with his mouth open for a long time.

How beautiful it was in the New Year's forest! There is such an unearthly beauty in the world that when you look at it, everything inside you immediately turns over. And the world seems to be becoming cleaner and kinder, and people and animals are getting better.

So the Wolf and the Hare were sitting side by side under the tree, and something inside them turned over. And the Hare thought that there is something stronger than wolves in the world, and the Wolf thought that happiness is not in hares.

(264 words)

At first glance, it seems that for this work you can immediately put five. The presentation is very detailed, it retains the stylistic features of the text. Logical errors are absent, paragraphs are also all right. The richness of the vocabulary, the variety of syntactic constructions used - all this can and should be assessed by an expert.

Alarming, however, is the inconsistency of the heading with the topic and the main idea of ​​the text. And this alone may indicate a possible misunderstanding, or rather, misunderstanding of the text.

On the second reading, attention is drawn to the penultimate paragraph: “How beautiful it was in the New Year's forest! There is such a non-earthly beauty in the world that you look at it - and everything inside you immediately turns over. And the world seems to be becoming cleaner and kinder, and people and animals -

better". The fact is that the highlighted sentences and parts of the sentences are absent in the text of F. Krivin. The first is a figment of the imagination of the author himself, the rest are clearly borrowed from the text for reading (see task 3 in test work). According to the laws of the genre, the presentation should not contain anything that is not in the original text. The appearance of background knowledge, thoughts, facts and details that are not contained in the text in “their” text is regarded as a factual error.

The noted shortcomings do not make it possible to give an initial high score for the work, although on the whole it makes a good impression.

2. Evaluation of the condensed presentation

When checking a compressed presentation, one more criterion is added to the above criteria - the quality of text compression. In the total amount of points, the weight of this criterion is small: if the examinee knows the techniques of compressing the text, he gets 1 point, if he does not own - 0 points.

Let us recall two main methods (reception) of text compression: 1) exclusion of details, 2) generalization. With exclusion, the student must first highlight the main thing and then remove the details. When generalizing, he combines several essential facts into a single whole, using linguistic means of generalization. It is not necessary to preserve the style features of the author's text in a condensed presentation.

EXAMPLE 2 (version of the trial certification work 2008)

Source text

Waking up at dawn amid the quacking of ducks, I once climbed out of the tent and looked around. But then I had to sit down and crawl back for the binoculars: a hundred meters from the island, a large flock of pelicans was swimming. It is not often the case to observe these rare birds in nature.

This is the first time I see such a huge flock of pelicans, there are at least a hundred birds in it. Looking closely, I understand that a flock of curly pelicans and pink pelicans is feeding on the water. The curly pelican is slightly larger than pink, it has a clearly visible "mane" - elongated and curled feathers on its head, and the plumage lacks the pink tint characteristic of its fellow. Cormorants swim around the pelicans, and seagulls scream in the air. Cormorants rush after the fish, diving swiftly, and pelicans grab it, submerging only the head, neck and front part of the body into the water. Only splashes of water and cries of seagulls are heard.

But now the hunt is over, the birds are heading to the sandy shore, plopping heavily with their webbed paws, and get out on the sushu. On the ground, they move awkwardly, waddling. And suddenly one pelican rises into the air. Alarmed by something, he is repelled simultaneously by both paws from the water and, flapping his wings heavily, flies away from the island. The birds sitting on the shore immediately follow his example. In a few seconds, all the birds were in the air. They circle randomly over the lake, then build in one wavy line and, making two large circles with the whole flock, fly away to the east, towards the sun.

I happened to see all this quite a long time ago. Nowadays, pelicans have become much smaller, their number continues to fall catastrophically, it is not for nothing that they are listed in the Red Book. The reason is the mowing and burning of reed thickets, in the disturbance that humans cause during the nesting of birds.

How can we help pelicans? His intolerant attitude towards poaching, understanding of his responsibility for the existence of rare birds on the planet. And yet - human delicacy: you just need to protect the nesting sites of pelicans and not disturb the birds, especially in the most difficult time for them - when laying eggs, incubating and hatching chicks.

(According to A.L. Kuznetsov) (311 words)

Statement one We must help our feathered friends!

Waking up at dawn amid the quacking of ducks, I climbed out of the tent, but then on all fours I returned for the binoculars. A large flock of pelicans swam near the island. These birds are rarely found in nature.

This is the first time I have seen such a large flock of Peli-kans, in which at least a hundred birds have gathered. Looking closer, I noticed that the flock consists of curly and pink pelicans. Unlike co-brothers, curly pelicans have a "mane" of long curly feathers, and no pink tint in their plumage. Cormorants swam and seagulls flew alongside the pelicans. When fishing, the Bak-lans dived completely, and the pelicans immersed only their head, neck and front part of the body in the water. From time to time, the splash of waves and the cries of seagulls were heard.

The hunt has come to an end. The birds began to scramble onto land. One pelican, frightened by something, pushing off with both paws from the water, soared into the sky. The rest of the birds followed suit. The flock of birds lined up in one wavy line and, making two large circles, flew east, towards the sun.

The events I have described took place quite a long time ago. Currently, the number of pelicans is sharply decreasing. It is not for nothing that these birds are listed in the Red Book. The decline in the population occurs due to the mowing and burning of reed thickets.

We can help our feathered friend-holes if we take care of them.

Even with the naked eye it can be seen that the student did not cope with his task - to write a concise presentation: instead of a concise one, he got a detailed presentation. This is evidenced, in particular, by the number of words in the presentation - 199 words, or 64% of the transmission of the content of the original text. This is precisely the parameter that characterizes the detailed presentation.

How to evaluate such work? If you follow the developed criterion base, it turns out that you can put a lot of points for it. “The ek-replaceable conveyed the main content of the listened text, reflecting ... all micro-themes important for his perception” (3 points); “I used one or more methods of compressing the text” - in the presentation, albeit awkwardly, one such method was actually used - in the last paragraph (1 more point); in the work "there are no logical errors and there are no violations of the paragraph division of the text" (2 points). So, if the criteria are formally followed, then the maximum number of points can be given for the content - 6. (Marked (underlined) speech, mainly stylistic, errors are taken into account on a different scale - “for literacy”.)

Another thing is that such a presentation cannot be considered concise. The student did not demonstrate the ability to highlight the main thing in the text, to select essential information, to find linguistic means of generalization. Namely, from these positions, the concise presentation should be evaluated in the first place. So the criteria are criteria, and for this work the majority of teachers would not have given more than a three.

Second presentation

Pelicans are rare birds

"When I woke up at dawn amid the quacking of ducks, I took my binoculars.

For the first time I saw a huge flock of curly and pink pelicans. They fed in the water, fished. Curly ones are slightly larger than pink ones. Their "mane" is clearly visible - curled feathers on the head, and there is no pink tint in the plumage. Peli-kans, plunging their head, neck and front part of the body into the water, fished.

Birds move awkwardly on the ground. One pelican took off, the rest took off after. Lining up in a wavy line, the birds flew east.

The number of pelicans is rapidly falling. They are listed in the Red Book. The reason for the decline in the number of pelicans is the mowing and burning of reed thickets, which serve as their nests.

How can you help pelicans? To realize the responsibility for the existence of rare birds, the non-speech of the nesting place of pelicans and not disturb them during the laying of eggs and hatching of chicks.

(124 words)

What is the main disadvantage of this work? In the absence of semantic integrity and speech coherence of the narrative. The student, obviously, believes that he should write just a short presentation (and thus makes a common mistake, perceiving short and short words as synonyms), but he does not know what to shorten, does not know how to compress the text. Where it is necessary to convey essential information, he excludes it (in this sense, the 1st paragraph is characteristic: it is not clear for what purpose the camera was taken and what happened in general), and where details need to be excluded, for example, description -sanie of two types of pelicans in the 2nd paragraph, he carefully preserves these details. (In the text, the details that should be excluded are highlighted in light italics.)

Let's note one more typical mistake - the absence of a logical connection between the two parts of the text, which is carried out with the help of a sentence. The events that I described took place quite a long time ago. Without it, the text loses its integrity, the story of an old meeting with pelicans (the first three paragraphs) and the discussion about their preservation today (the 4th and 5th paragraphs) are torn, it seems that we have two different tex- that. The restoration of the missing semantic link makes the text more understandable. The logic of the development of thought here is as follows: once upon a time you could see a flock of pelicans, consisting of a hundred birds, but now there are significantly fewer of them and they need protection.

In general, the presentation is weak, however, it has one small plus: a not very clear phrase. The reason for mowing and burning reed thickets is supplemented by additional clauses that serve as nests for them. This information is not clearly expressed in the original text (the so-called semantic well), while the student brings this information to the surface, which indicates that he understands this sentence.

Third presentation

Rare birds

Waking up at dawn, I left the tent and looked around. But then I had to crawl back to get the binoculars. A flock of pelicans swam a hundred meters from the shore. [Missing paragraph.] This is the first time I've seen such a large flock. Looking closely, I realize that this is a flock of Dalmatians and Pink Pelicans feeding.

[The paragraph is not needed.] Cormorants swim around the pelicans. They rush after the fish, and the pelicans dive swiftly and grab it. [Actual error.]

The hunt is over. The birds are heading towards the shore, pawing heavily. One pelican rises into the air. The birds sitting on the shore follow his example. Soon the whole flock was in the air and flew east, towards the sun.

Nowadays, their [speech error] number is decreasing. Therefore, they are listed in the Red Book. The reason is in pumping out Lexical error] and burning reed thickets, in the disturbance caused by humans during the nesting of birds. [Missing paragraph.] How can we help the birds?

[The paragraph is not needed.] The main thing is to protect the place of their nesting, not to disturb them during the raising and hatching of the chicks.

Using this work as an example, it is possible to visually show ninth-graders such a common logical mistake as a violation of paragraph articulation of the text. One gets the impression that, having written the presentation, the student at the end has placed the paragraphs just at random, he has no idea about the logic of presentation.

This logical error can be prevented by acquainting students with the rules for constructing a paragraph:

One paragraph, as a rule, outlines only one micro-topic.

The arrangement of sentences within a paragraph follows the scheme: beginning, development of thought, ending.

The most important sentence of a paragraph (the sentence in which its topic or main idea is expressed) is usually placed at the beginning or at the end of the paragraph.

The development of thought in a paragraph is carried out in one of the following ways: detailing, giving examples, comparison or opposition, analogy, explanation, substantiation of the thesis, etc. 5]

We will invite students to independently compose a table reflecting the content of microthemes (similar to the one given in the instructions for experts) to the text about pelicans. In a teaching presentation, such work is absolutely necessary, although it cannot be called easy. To isolate micro-themes means to collapse a part of the text to one or two sentences, when “each part of the text is represented by some kind of a“ semantic point ”,“ semantic point ”, in which the entire content of the part seems to be compressed” 6.

Let's give an example of such work, performed by one of the students.

Paragraph number	Microtheme
	One morning I saw a large flock of pelicans
	The flock consisted of curly and pink-haired pelicans that hunted for fish
	After the hunt, the pelicans made their way to land. Suddenly one pelican took off, the rest flew away after him
	All this was long ago. Nowadays, there are fewer and fewer polycans due to human interference in their lives.
	Pelicans can be helped, but for this it is necessary that a person realizes his responsibility for the preservation of these rare birds on earth.

So, the most typical errors of content when writing a compressed presentation are the omission of one or several micro themes, the lack of text compression techniques, logical errors.

When analyzing and evaluating the presentations, the main attention was paid to the content side. As observations and experience (including our own) show, it is this part of the work that causes the greatest difficulties and doubts among teachers. Checking ordinary statements, statements not designed for the prying eyes, written not for an expert, we, often without realizing it ourselves, first of all begin to count speech, grammatical, spelling and other errors - those that are easier to account for and counting. Content errors are more complicated. However, they are the litmus test for understanding the text - a skill that, unfortunately, only a few students possess.

Oral speech onbasis use of essential species speech activity and major types of training texts in the process of ... riddles. Development of verbal and logical thinking, recreatingimaginations(2 hours) Development of cognitive interest. Extension...

The main educational program of primary general education p kadnikovsky 2011

Total on development recreatingimaginations... Creative imagination children are activated when completing assignments on forecasting text, ... oral speech onbasis use of essential species speech activity and major types of training texts v...

Activity N 4 51-1 & Improvement of teaching methods in secondary school through the creation of subject-oriented modules in at least 18 subjects based on the implementation of information technologies; development of scientific and educational

Report

Nature recreatingimaginations, but... see in the light of cultural approach issues modern culture ... outliningtext... Perception on gossip understanding uncomplicated text- to allocate the main information in the perceived on hearing text ...

The main educational program of the municipal general education

Basic educational program

Oral speech onbasis use of essential species speech activity and major types of training texts during... requirement holding modern lesson on physical culture is to ensure a differentiated and individual approach ...

Send your good work in the knowledge base is simple. Use the form below

Good work to the site ">

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Imagination and creativity of the individual

1. Imagination concept

The experimental study of the imagination has become a subject of interest for Western psychologists since the 1950s. The function of imagination - the construction and creation of images - has been recognized as the most important human ability. Its role in the creative process was equated with the role of knowledge and judgment. In the 50s, J. Guildford and his followers developed the theory of creative (creative) intelligence.

Defining imagination and identifying the specifics of its development is one of the most difficult problems in psychology. According to A.Ya. Dudetsky (1974), there are about 40 different definitions imagination, however, the question of its essence and difference from other mental processes is still controversial. So, A.V. Brushlinsky (1969) rightly notes the difficulties in defining imagination, the vagueness of the boundaries of this concept. He believes that " Traditional definitions imagination as the ability to create new images actually reduces this process to creative thinking, to operating with representations and concludes that this concept is still superfluous, at least in modern science. "

S.L. Rubinstein emphasized: "Imagination is a special form of the psyche that can only be in humans. It is continuously connected with the human ability to change the world, transform reality and create new things."

Possessing a rich imagination, a person can live in different times, which no other living creature in the world can afford. The past is fixed in images of memory, and the future is represented in dreams and fantasies. S.L. Rubinstein writes: "Imagination is a departure from past experience, it is a transformation of the given and the generation of new images on this basis."

L.S. Vygotsky believes that “Imagination does not repeat the impressions that were accumulated before, but builds some new series of previously accumulated impressions. , constitutes the basis of what we call imagination. "

Imagination is a special form of the human psyche, which stands apart from other mental processes and at the same time occupies an intermediate position between perception, thinking and memory. The specificity of this form of the mental process lies in the fact that imagination is probably characteristic only of a person and is strangely connected with the activity of the organism, being at the same time the most "mental" of all mental processes and states.

In the textbook "General Psychology" A.G. Maklakov provides the following definition of imagination: “Imagination is the process of transforming representations that reflect reality, and the creation of new representations on this basis.

In the textbook "General Psychology" V.M. Kozubovsky contains the following definition. Imagination is the mental process of a person creating in his consciousness an image of an object (object, phenomenon) that does not exist in real life. The product of the imagination can be:

The image of the final result of real objective activity;

a picture of one's own behavior in conditions of complete information uncertainty;

an image of a situation that solves problems that are urgent for a given person, the real overcoming of which is not possible in the near future.

Imagination is included in the cognitive activity of the subject, which necessarily has its own subject. A.N. Leont'ev wrote that "The subject of activity appears in two ways: primarily - in its independent existence, as subordinating and transforming the activity of the subject, secondly - as an image of an object, as a product of the mental reflection of its property, which is carried out as a result of the activity of the subject and cannot be realized otherwise" ... ...

The selection in the object of its certain properties necessary for solving the problem determines such a characteristic of the image as its partiality, i.e. dependence of perception, ideas, thinking, on what a person needs - on his needs, motives, attitudes, emotions. “It is very important to emphasize here that such a“ partiality ”is itself objectively determined and is expressed not in the adequacy of the image (although it can be expressed in it), but that it allows one to actively penetrate into reality.”

The combination in the imagination of the objective contents of the images of two objects is associated, as a rule, with a change in the forms of representation of reality. Starting from the properties of reality, the imagination cognizes them, reveals their essential characteristics through their transfer to other objects, which fix the work of the productive imagination. This is expressed in metaphor, symbolism that characterizes the imagination.

According to E.V. Ilyenkov, "The essence of imagination lies in the ability to" grasp "the whole before the part, in the ability, on the basis of a separate hint, the tendency to build an integral image." " Distinctive feature imagination is a kind of departure from reality, when on the basis of a separate feature of reality is built new image, and not just reconstructing existing ideas, which is typical for the functioning of the internal plan of action. "

Imagination is a necessary element of a person's creative activity, expressed in the construction of an image of the products of labor, and ensuring the creation of a program of behavior in cases where the problem situation is also characterized by uncertainty. Depending on the various circumstances that characterize the problem situation, the same task can be solved both with the help of imagination and with the help of thinking.

From this we can conclude that imagination works at that stage of cognition when the uncertainty of the situation is very high. Fantasy allows you to "jump" over some stages of thinking and still imagine the final result.

Imagination processes are of analytical-synthetic nature. Its main tendency is the transformation of representations (images), which ultimately ensures the creation of a model of a situation that is deliberately new, which has not previously arisen. Analyzing the mechanism of imagination, it is necessary to emphasize that its essence is the process of transforming ideas, creating new images based on existing ones. Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections.

So, imagination in psychology is considered as one of the forms of the reflective activity of consciousness. Since all cognitive processes are reflective, it is necessary, first of all, to determine the qualitative originality and specificity inherent in the imagination.

Imagination and thinking are intertwined in such a way that it can be difficult to distinguish between them; both of these processes are involved in any creative activity, creativity is always subordinated to the creation of something new, unknown. Operating with already existing knowledge in the process of fantasizing presupposes their obligatory inclusion in the systems of new relations, as a result of which new knowledge may arise. Hence it is clear: "... the circle is closed ... Cognition (thinking) stimulates the imagination (creating a model of transformation), which (the model) is then tested and refined by thinking" - writes A.D. Dudetsky.

According to L.D. Stolyarenko, several types of imagination can be distinguished, the main ones of which are passive and active. The passive, in turn, is divided into voluntary (daydreaming, daydreaming) and involuntary (hypnotic state, fantasy in dreams). Active imagination includes artistic, creative, critical, recreational and anticipatory.

Imagination can be of four main types:

Active imagination is characterized by the fact that, using it, a person is on their own, by an effort of will, evokes the corresponding images.

Active imagination is a sign of a creative type of personality that constantly tests its inner capabilities, its knowledge is not static, but continuously recombined, leading to new results that give the individual emotional support for new searches, the creation of new material and spiritual values. Her mental activity is overconscious, intuitive.

Passive imagination consists in the fact that its images arise spontaneously, in addition to the will and desire of a person. Passive imagination can be unintentional and deliberate. Unintentional passive imagination arises with a weakening of consciousness, psychosis, disorganization of mental activity, in a half-drowsy and drowsy state. With deliberate passive imagination, a person arbitrarily forms images of escape from reality, dreams.

The unreal world created by the personality is an attempt to replace unfulfilled hopes, make up for heavy losses, and weaken mental trauma. This kind of imagination is indicative of deep intrapersonal conflict.

Distinguish also the reproducing, or reproductive, and transforming, or productive imagination.

In the reproductive imagination, the task is to reproduce reality as it is, and although there is also an element of fantasy, such imagination is more like perception or memory than creativity. So, with the reproductive imagination can be correlated with the direction in art, called naturalism, as well as partly realism.

Productive imagination is distinguished by the fact that reality in it is consciously constructed by a person, and not simply mechanically copied or recreated, although at the same time it is nevertheless creatively transformed in an image.

Imagination has a subjective side associated with individual and personal characteristics of a person (in particular, with his dominant cerebral hemisphere, type of nervous system, thinking characteristics, etc.). In this regard, people differ in:

brightness of images (from the phenomena of a clear "vision" of images to the poverty of ideas);

by the depth of processing of images of reality in the imagination (from the complete unrecognizability of an imaginary image to primitive differences from the real original);

by the type of the dominant channel of the imagination (for example, by the predominance of auditory or visual images of the imagination).

2. Creativity concept

Creativity is the highest mental function and reflects reality. However, with the help of these abilities, a mental retreat beyond the perceived is carried out. With the help of creative abilities, an image is formed that has never existed or does not exist in this moment object. In preschool age, the foundations of the child's creative activity are laid, which are manifested in the development of the ability to plan and its implementation in the ability to combine their knowledge and ideas, in the sincere transmission of their feelings. adaptation fifth grader learning atmosphere

Currently, there are many approaches to the definition of creativity, as well as concepts related to this definition: creativity, non-standard thinking, productive thinking, creative act, creative activity, creativity and others (V.M.Bekhterev, N.A. Vetlugina, V. Druzhinin, Ya.A. Ponomarev, A. Rebera and others).

In many scientific works the psychological aspects of creativity, in which thinking is involved, are widely presented (D.B. Bogoyavlenskaya, P.Ya. Galperin, V.V. Davydov, A.V. Zaporozhets, L.V. Zankov, Ya.A. Ponomarev , S.L. Rubinstein) and creative imagination as a result of mental activity, providing a new education (image), realized in different types of activity (A.V. Brushlinsky, L. S. Vygotsky, O. M. Dyachenko, A. Ya. Dudetsky, A.N. Leontiev, N.V. Rozhdestvenskaya, F.I. Fradkina, D.B. Elkonin, R. Arnheim, K. Koffka, M. Vergheimer).

"Ability" is one of the most general psychological concepts. In Russian psychology, many authors gave him detailed definitions.

In particular, S.L. Rubinstein understood by abilities "... a complex synthetic formation, which includes a whole series of data, without which a person would not be capable of any specific activity, and properties that are developed only in the process of a certain way of organized activity." Similar statements in content can be found from other authors.

Ability is a dynamic concept. They are formed, developed and manifested in activity.

B.M. Teplov proposed three essentially empirical signs of abilities, which formed the basis of the definition most often used by specialists:

1) abilities are individual psychological characteristics that distinguish one person from another;

only those features that are related to the success of an activity or several activities;

abilities are not reducible to knowledge, abilities and skills that have already been developed in a person, although they determine the ease and speed of acquiring these knowledge and skills.

Naturally, the success of the performance is determined by both motivation and personal characteristics, which prompted K.K. Platonov's ability to attribute to abilities any properties of the psyche, in one way or another, determine success in a specific activity. However, B.M. Teplov goes further and points out that, in addition to success in activity, ability determines the speed and ease of mastering the activity, and this changes the position with the definition: the speed of learning may depend on motivation, but the feeling of ease in learning (otherwise - "subjective cost", experiencing difficulty), rather, is inversely proportional to the motivational stress.

So, the more a person's ability is developed, the more successfully he performs an activity, the faster he masters it, and the process of mastering the activity and the activity itself are subjectively easier for him than training or work in the area in which he does not have the ability. A problem arises: what kind of psychic entity is this - ability? One indication of its behavioral and subjective manifestations (and the definition of B.M. Teplov, in fact, is behavioral) is not enough.

In its most general form, the definition of creativity is as follows. V.N. Druzhinin defines creative abilities as individual characteristics of a person's quality, which determine the success of his performance of creative activities of various kinds.

Creativity is a fusion of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses regarding this problem. Many psychologists associate the ability for creative activity, first of all, with the peculiarities of thinking. In particular, the famous American psychologist Guilford, who was engaged in the problems of human intelligence, found that creative individuals so-called divergent thinking is characteristic.

People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or to form connections between two elements that at first glance have nothing in common. The divergent way of thinking is at the heart of creative thinking, which is characterized by the following main characteristics:

1. Speed ​​- the ability to express the maximum number of ideas, in this case, it is not their quality that is important, but their quantity).

2. Flexibility - the ability to express a wide variety of ideas.

3. Originality - the ability to generate new non-standard ideas, this can be manifested in answers, decisions that do not coincide with generally accepted ones.

4. Completeness - the ability to improve your "product" or give it a finished look.

Famous Russian researchers of the problem of creativity A.N. Luke, based on the biographies of prominent scientists, inventors, artists and musicians, distinguishes the following creative abilities:

1. Ability to see the problem where others do not see it.

The ability to curtail mental operations, replacing several concepts with one and using symbols that are more and more informative in terms of information.

The ability to apply the skills acquired while solving one problem to solving another.

The ability to perceive reality as a whole, without splitting it into parts.

The ability to easily associate distant concepts.

The ability of memory to give out the right information at the right moment.

Flexibility of thinking

The ability to choose one of the alternatives to solve a problem before testing it.

The ability to incorporate newly perceived information into existing knowledge systems.

The ability to see things as they are, to distinguish the observed from what is introduced by the interpretation.

Ease of generating ideas.

Creative imagination.

The ability to refine details, to improve the original concept.

Candidates of psychological sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (history of philosophy, social sciences, art, individual spheres of practice), identified the following universal creative abilities that have developed in the process of human history.

1. Realism of imagination - figurative grasping of some essential, general tendency or pattern of development of an integral object, before a person has a clear concept of it and can inscribe it into a system of strict logical categories.

2. Ability to see the whole before the parts.

The over-situational - transformative nature of creative solutions and the ability, when solving a problem, not just to choose from alternatives imposed from outside, but to independently create an alternative.

Experimenting is the ability to consciously and purposefully create conditions in which objects most vividly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

3. Methods for exploring imagination and creativity

For a more accurate determination of the level of development of students' creative abilities, it is necessary to analyze and evaluate each creative task completed independently.

S.Yu. Lazareva recommends that the pedagogical assessment of the results of students' creative activity be carried out using the "Fantasy" scale developed by G.S. Altshuller for assessing the presence of fantastic ideas and thus allowing to assess the level of imagination (the scale is adapted to the primary school question by M.S.Gafitulin, T.A. Sidorchuk).

The "Fantasy" scale includes five indicators: novelty (assessed on a 4-level scale: copying an object (situation, phenomenon), a slight change in the prototype, obtaining a fundamentally new object (situation, phenomenon)); persuasiveness (a well-grounded idea described by a child with sufficient reliability is considered convincing).

Data scientific works say that research carried out in real life is legitimate if it is aimed at improving the educational environment in which the child is formed, contributing to social practice, at creating pedagogical conditions, contributing to the development of creativity in the child.

1. Technique "Verbal fantasy" (speech imagination). The child is invited to come up with a story (story, fairy tale) about any living being (person, animal) or about something else of the child's choice and present it orally for 5 minutes. It takes up to one minute to come up with a theme or plot for a story (story, fairy tale), and then the child starts the story.

In the course of the story, the child's fantasy is assessed according to the following criteria:

the speed of imagination processes;

uniqueness, originality of images of the imagination;

wealth of imagination;

depth and elaboration (detail) of images; - impressionability, emotionality of images.

For each of these features, the story is evaluated from 0 to 2 points. 0 points are given when this feature is practically absent in the story. 1 point is given to the story if this feature is present, but is expressed relatively weakly. 2 points the story earns then, when the corresponding sign is not only available, but also expressed quite strongly.

If within one minute the child has not come up with the plot of the story, then the experimenter himself prompts him some plot and 0 points are given for the speed of imagination. If the child himself came up with the plot of the story by the end of the allotted time (1 minute), then according to the speed of imagination he receives an assessment of 1 point. Finally, if the child managed to come up with a plot of the story very quickly, within the first 30 seconds, or if within one minute he came up with not one, but at least two different plots, then the child is given 2 points on the basis of "speed of imagination processes".

Unusual, originality of images of imagination is evaluated in the following way.

If a child simply retells what he once heard from someone or saw somewhere, then on this basis he receives 0 points. If a child retells the known, but at the same time brings in something new from himself, then the originality of his imagination is estimated at 1 point. In the event that a child came up with something that he could not see or hear somewhere before, then the originality of his imagination gets a score of 2 points. The richness of the child's imagination is also manifested in the variety of images he uses. When assessing this quality of imagination processes, the total number of different living beings, objects, situations and actions, various characteristics and attributes attributed to all this in the child's story is recorded. If the total number of the named exceeds ten, then the child receives 2 points for the richness of imagination. If the total number of parts of the specified type is in the range from 6 to 9, then the child receives 1 point. If there are few signs in the story, but in general at least five, then the richness of the child's fantasy is estimated at 0 points.

The depth and elaboration of images are determined by how diversely the story presents details and characteristics related to the image that plays a key role or occupies a central place in the story. It also gives marks in a three-point system.

The child receives points when the central object of the story is depicted very schematically.

point - if, when describing the central object, its detail is moderate.

points - if the main image of his story is painted in sufficient detail, with many different details characterizing it.

The impressionability or emotionality of imagery is assessed by whether it evokes interest and emotion in the listener.

About points - the images are of little interest, banal, do not impress the listener.

score - the images of the story evoke some interest from the listener and some emotional response, but this interest, along with the corresponding reaction, soon fades away.

points - the child used bright, very interesting images, the listener's attention to which, once arose, then did not fade away, accompanied by emotional reactions such as surprise, admiration, fear, etc.

Thus, the maximum number of points that a child in this technique can receive for his imagination is 10, and the minimum is 0.

4. Diagnostics of creativity

Psychologist BF Lomov asserts that "every person has, to one degree or another," creative potential ", because without creativity, at least elementary, a person cannot solve life's problems, that is, simply live ...".

It is generally accepted that creativity is more of a process, a search, than a result. This search does not always end with the creation of a high-quality product of activity. Rather, it is a kind of ability to ask a question, to pose a problem and an attempt to solve it.

In accordance with this, the first sign of the presence of creative abilities is a strong cognitive need, manifested in a high cognitive activity... High cognitive activity is manifested at a very early age, and by carefully observing the child, one can easily assess its development. If a baby clearly shows a positive emotional reaction to a new toy, a situation, a great interest in surrounding objects, people, active development of new ways of cognition, a desire to imitate, and then attempts to independently experiment (with an object, sound, word), - all this speaks of unfolding creativity.

So, the questions of inquisitive kids are broader in subject matter and deeper in content than those of their peers. By the age of five, they try to find answers on their own, observing, trying to experiment. From five to six years of age, the increased level of cognitive activity allows the child to formulate a question, a problem by himself, turning them not to others, but to himself; the search for solutions is carried out systematically and consistently. By the end of preschool age, there may be a desire to present their "discoveries" to others - adults, children.

There are many assessment criteria in preschool pedagogy and psychology. creative works children. But some researchers note the great efficiency of the American specialist P. Torrance's approach to the analysis of children's creativity. He highlights creative thinking as required component any creative search and uses the main indicators of creative thinking (productivity, flexibility, originality, elaboration of creative ideas and solutions) to analyze the results of creative activity.

In order to reveal the creative potential of the child, his creative abilities E.S. Belova recommends observing the child in the classroom, in the game, noting the following points:

Preferred types of activities, games;

Independence of creative search (does he turn to adults, other children for help, what kind of help was needed and at what stage);

The child's attitude to the creative process (emotional coloring, enthusiasm);

Initiative (in choosing a type of activity, creating an idea, choosing means);

Realization of creative intention (completeness, changes, awareness);

Using sources of information and expressive means(types, preferences, variety, adequacy to the concept).

Creatively gifted preschoolers can show great interest in various types of activities and games, but mainly in those in which they can express themselves creatively - discover, create something new. As a rule, such children are engaged in creativity with joy and great enthusiasm, while showing activity and initiative; they are quite independent in their creative search, but at the same time they can turn to their elders for the necessary information and for information on how to obtain this information. Such children are purposeful and persistent in the implementation of their plans, they are completely absorbed by the process of creativity itself.

Based on the analysis of the characteristics of gifted children, psychologists J. Renzulli and R. Hartman proposed to assess the creative potential of a child according to the following parameters:

1. Shows curiosity about many things, constantly asks questions;

2. Offers a lot of ideas, solutions to problems, answers to questions;

3. Freely expresses his opinion, sometimes persistently, energetically defends it;

4. Prone to risky actions;

5. Has a rich imagination, imagination; often preoccupied with transformation, improvement of society, objects, systems;

6. Possesses well developed feeling humor and sees humor in situations that others do not find funny;

7. Sensitive to beauty, pays attention to the aesthetic characteristics of things, objects;

8. Nonconformist, not afraid to be different from others;

To the above, you can add a great desire for creative self-expression, to creative use items.

Focusing on these characteristics, you can evaluate the manifestation of the child's creative potential. If, at the same time, the boundaries of the assessment are expanded, that is, not only to record the severity of the characteristic within the framework of alternative answers "yes - no", but also to try to distinguish the degree of severity (very weak, weak, medium, strong, very strong), you can get a general idea of ​​the disclosure the creativity of the child.

The complexity, versatility of the concept of creativity also presupposes an integrated approach to its diagnosis. Isolation of any one characteristic or quality, as well as the use of a single diagnostic method, is not enough for an objective and accurate assessment of the child's abilities.

Diagnostics of creativity has its own characteristics that we need to highlight in order to see their distinguishing feature from other types of diagnostics.

Diagnostic features:

* To obtain more accurate results, it is necessary to exclude educational motivation, to spend in free time from work.

* Expert judgment is not so much the result as the process.

* Other methods: not through tests, but through included observation in natural conditions (the expert plays together); through self-questioning, a biographical method in which only facts are removed (since creativity arises sporadically) and the conditions in which the fact took place are analyzed.

* Game, trainings are the main methods.

* To relieve tension, a preparatory period is required.

* Time limit removed.

Key indicators for diagnosis:

Fluency.

Flexibility (number of ideas, ability to switch from problem to problem).

Originality (standard answer or not).

Stability of interest.

Integrity (the ability to give a product a complete look).

When carrying out diagnostics with children of primary school age, it is necessary to create an environment for an individual examination, without contact with other children, because children of this age have a tendency to imitate.

Diagnostic methods should exclude verbal explanation of children from the outside, because their speech is inadequate to feelings. Children feel and understand more intuitively than they can say. Intuitive guessing is preferred.

Artistic and aesthetic development is tested through the perception of the expressiveness of the form, and not through mastering the language of art; it is tested through the presentation of art objects, reproductions, photos, postcards.

Posted on Allbest.ru

...

Similar documents

Imagination and creativity of the individual. An experimental study of the characteristics of the creative abilities, imagination and psyche of junior schoolchildren. Imagination function: construction and creation of images. The theory of creative (creative) intelligence.

term paper, added 05/24/2009


The concept and theories of the origin of imagination, its functions and classification. Methods for exploring imagination and creativity. The psychological nature of sensations, features of their interaction. The concept and types of speech, its role in the communication process.

test, added 11/18/2013


Study of the main directions of the development of imagination in preschool age. Analysis of the prerequisites for the emergence of creative abilities in preschool age. Indicators of the Influence of Imagination Features on the Development of Thinking Creativity in Preschoolers.

thesis, added 05/20/2010


The concept of imagination as an integral process. Description of imagination as a mental process. Age features of the development and formation of imagination. The level of development of imagination (based on the material of experimental psychological research).

test, added 02/23/2010


Imagination as the main component of the creative process, its interpretation in philosophical concepts. Essence, types and functions of imagination. Methods for studying the characteristics of the imagination of a person. Description of the group of subjects. Analysis and interpretation of results

term paper, added 11/03/2009


The concept of imagination as a mental process of creating new images and ideas. Development of imagination in preschoolers. Features of imagination in children of specific age groups. Using fairy tales and stories to develop children's imaginations.

term paper, added 11/27/2009


The concept of imagination and cognitive processes, their relationship with perception. Features of the creative imagination of primary schoolchildren, experimental work on their research. Diagnostic program for the study of the features of the creative imagination.

thesis, added 05/02/2015


Psychology of creativity, definition of imagination, predisposition to creativity. The main concepts of the study of creativity, the concept of creativity as a universal cognitive creative ability. Techniques for diagnosing creativity.

term paper, added 03/06/2010


Imagination functions. The role of imagination in building an image and a program of behavior in a problem situation. Imagination as an activity of synthesis. Methods of synthesizing in creating images of the imagination. Types of imagination. Creative imagination.

test, added 09/27/2006


Specific functions of imagination in human life. Various forms and types of human imagination, its manifestations. The relationship of imagination with creativity. Periodization of age periods in psychology, inconsistency in the definition of age limits.

Imagination, its types and forms of manifestation

Imagination, or fantasy, like thinking, belongs to the highest cognitive and problematic situation of processes in which the specifically human nature of the activity is clearly revealed. Without imagining the finished result of labor, one cannot get down to work. In the presentation of the expected result with the help of imagination - the fundamental difference between human labor and the instinctive behavior of animals. Any work process necessarily involves imagination. It acts as a necessary side of artistic, design, scientific, literary, musical, in general, any creative activity.

Imagination is a necessary element of a person's creative activity, expressed in the construction of an image of the products of labor, as well as ensuring the creation of a program of behavior in cases where a problem situation is characterized by uncertainty. At the same time, imagination can act as a means of creating images that do not program active activity, but replace it.

The first and most important purpose of imagination as a mental process is that it allows represent the result of labor before it begins, represent not only the final product of labor (for example, the table in its completed form as ready product), but also its intermediate products(in this case, those parts that must be sequentially manufactured in order to create a table).

Consequently, the imagination orients a person in the process of activity - it creates a mental model of the final or intermediate products of labor, which contributes to their objective embodiment.

Imagination is closely related to thinking. Like thinking, it allows you to foresee the future. Just like thinking, imagination arises in a problem situation, that is, in those cases when it is necessary to find new solutions; just like thinking, it is motivated by the needs of the individual. The real process of satisfying needs may be preceded by an illusory, imaginary satisfaction of needs, that is, a vivid, vivid representation of the situation in which these needs can be satisfied. But the anticipatory reflection of reality, carried out in the processes of fantasy, occurs in specific form, in the form of bright views Thus, in the problem situation, which begins the activity, there are two systems of advancing consciousness of the results of this activity: an organized system of images(views) and organized system of concepts. The possibility of choosing an image is at the heart of imagination, the possibility of a new combination of concepts is at the heart of thinking. Often such work goes on at once in “two floors”, since the systems of images and concepts are closely related.

When the problem situation is characterized by significant uncertainty, the original data is difficult to analyze accurately. In this case, the mechanisms of imagination come into play.

There is reason to conclude that imagination works at that stage of cognition when the uncertainty of the situation is very great. The more familiar, precise and definite the situation is, the less room it gives to fantasy. It is quite obvious that for that area of ​​phenomena where the basic laws have been clarified, there is no need to use imagination. However, in the presence of very approximate information about the situation, on the contrary, it is difficult to get an answer with the help of thinking - here fantasy comes into play.

The value of imagination lies in the fact that it allows you to make decisions and find a way out of a problem situation even in the absence of the necessary completeness of knowledge that is necessary for thinking. Fantasy allows you to “jump” over some stages of thinking and still imagine the final result. But this is also the weakness of such a solution to the problem. The solutions outlined by fantasy are often not precise enough, not strict. but the need to exist and act in an environment with incomplete information led to the emergence of a person's imagination apparatus. Since there will always be unexplored areas in the world around us, this apparatus of imagination will always be useful.

Imagination in some circumstances can act as replacement activities, its surrogate. In this case, a person temporarily leaves for the realm of fantastic, far from reality ideas, in order to hide there from seemingly insoluble tasks, from the need to act, from difficult living conditions, from the consequences of his mistakes, etc. Here fantasy creates images that are not embodied in life , outlines programs of behavior that are not implemented and often cannot be implemented. This form imagination called passive imagination.

A person can deliberately evoke passive imagination: this kind images of fantasy, deliberately evoked, but not associated with the will aimed at translating them into reality, are called dreams. All people tend to dream of something joyful, pleasant, and tempting. But if dreams prevail in the processes of imagination in a person,

then this is a defect in the development of personality, it testifies to its passivity. If a person is passive, if he does not fight for a better future, and his real life is difficult and joyless, then he often creates for himself an illusory, invented life, where his needs are fully satisfied, where he succeeds, where he occupies a position that he cannot hope now and in real life.

Passive imagination can also arise unintentionally. This occurs mainly when the activity of consciousness is weakened.

If passive imagination can be subdivided into deliberate and unintentional, then active imagination may be creative and recreating.

The imagination, which is based on the creation of images corresponding to the description, is called re-creating.(when reading).

Creative imagination, as opposed to recreating, presupposes the independent creation of new images that are realized in original and valuable products of activity. The creative imagination arising in labor remains an integral part of technical, artistic and any other creativity, taking the form of active and purposeful operation of visual representations in search of ways to satisfy needs.

The value of a human personality largely depends on what types of imagination prevail in its structure. If adolescent and young man's creative imagination, realized in concrete activity, prevails over passive, empty daydreaming, then this indicates a high level of personality development.

Having established the function that imagination performs in human activity, it is necessary to further consider the processes by which the construction of images of fantasy is carried out,

How do images of fantasy arise that guide a person in his practical and creative activity, and what is their structure? Imagination processes have analytical and synthetic character, as well as the processes of perception, memory, thinking. Already in perception and memory, analysis makes it possible to isolate and preserve some general, essential features of an object and to discard those that are not essential. This analysis ends with a synthesis - the creation of a kind of standard, with the help of which the identification of those objects is carried out, which, with all changes, do not go beyond a certain measure of similarity. Analysis and synthesis in the imagination have a different direction and, during the active process of operating with images, reveal other tendencies.

The main tendency of memory is the renewal of images as close as possible to the standard, i.e., ultimately, an approximation to an exact copy of a situation that once took place in behavior, or an object that was perceived, understood, realized. The main trend of imagination is transforming representations(images), providing and ultimately creating a model of the situation. Both tendencies are relative: we recognize our acquaintance even after many years, although his features, clothes, even his voice have changed noticeably, and in the same way, in any new image created by fantasy, the features of the famous appear.

Describing the imagination from the side of its mechanisms, it is necessary to emphasize that its essence is the process of transforming representations, creating new images based on existing ones. Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections. If you even come up with something completely extraordinary, then upon careful consideration it turns out that all the elements from which the fiction was formed, taken from life, gleaned from past experience, are the results of a deliberate or unintentional analysis of countless facts.

A possible way to create an image of fantasy is sharpening, underline any signs. With the help of this technique, friendly caricatures and evil caricatures are created.In the event that the representations from which the image of fantasy is constructed merge, the differences are smoothed out, and similarities come to the fore, this contributes to the implementation schematization. A good example of schematization is the creation of an ornament by an artist, elements of which are taken from the plant world. Finally, the synthesis of imagination can be done using typing, widely used in fiction, sculpture, painting, which are characterized by the allocation of the essential, repeated in homogeneous facts and their embodiment in a specific image.

The course of the creative process presupposes the emergence of many associations (however, their actualization differs from what is observed in memory processes).

A specific feature of the creative imagination is that it deviates from the usual course of associations, subjecting it to those emotions, thoughts, aspirations that prevail at the moment in the artist's psyche. And although the mechanism of associations remains the same (associations by similarity, contiguity or contrast), the selection of representations. is determined by these determinant tendencies.