Introduction
Expressive reading is intonationally correct reading, reflecting the reader’s penetration into the content of a work of art. Expressive reading in school is understood as oral reading by heart or from a book, which correctly conveys the ideological content of a work, its images and presupposes strict adherence to the spelling norm.
Expressiveness of reading is manifested in the ability to reasonably, based on the content of the text being read, use pauses (logical-grammatical, psychological and rhythmic - when reading works). Place logical and psychological emphasis, find the right intonation, partly suggested by punctuation marks, read loudly and clearly enough.
Expressive reading as the highest type of reading is the ability to use the basic means of expressiveness to reflect in reading one’s understanding, assessment of the content and meaning of the text, and attitude towards it. The desire to convey all this to the listener or audience with the greatest completeness, persuasiveness and contagiousness, to make clear to them the intention with which the reader began reading and which he is trying to reveal through his reading. In order to read expressively, you need to have certain skills. They are based on text analysis and intonation means of speech expressiveness.
The relevance of our chosen research topic is confirmed by the fact that the question of the characteristics of expressive reading in the process of analyzing a work of art at school has not been sufficiently and fully studied, as a result of which it is of undoubted interest to us.
The object of research in this work is the techniques and methods of teaching expressive reading, which contribute to the development of schoolchildren’s skills in analyzing a work of art.
Subject of research: skills and abilities of expressive reading; approaches that create opportunities for incorporating expressive reading techniques into the educational process; developing the ability to analyze a work.
The purpose of this study is to prove that the development of expressive reading in the process of analyzing a work of art in the classroom will contribute to the comprehensive harmonious development of the personality of younger schoolchildren and increase the level of perception of a work of art.
To achieve this goal, the following tasks were set:
1. Study methodological, pedagogical and psychological literature on this topic.
2. Identify the levels of perception of a work of art among students
second grades.
3. Analyze the specific features of expressive reading.
4. Consider methods and means of teaching expressive reading.
5. Experimentally test the effectiveness of expressive reading in the process of analyzing a work of art.
The research hypothesis is as follows: the use
expressive reading increases the level of artistic perception
works by younger schoolchildren.
Research methods: ascertaining section, formative experiment, analysis of students’ work, observation, conversation with teachers and students.
The research work was carried out in two classes: experimental 4 “A” - 21 people and control 4 “B” - 21 people in Municipal Educational Institution Secondary School LGO No. 1 in the village of Gornye Klyuchi, Primorsky Territory.
The study of the importance of expressive reading in the process of analyzing a work of art at school is studied both in the science of pedagogy and psychology.
The process of teaching students expressive reading as an object of research is studied both in pedagogy and in psychology and methods of teaching literature.
The work consists of an Introduction, two main chapters and a Conclusion.
The practical significance of the work is that it can serve the teacher as material for work in reading lessons, namely for developing the ability of younger schoolchildren not only to read a literary work expressively, but also to be able to analyze it.
The practical significance of the work is that it can serve
material for developing school lessons on the study of comparisons in the genre of literary fairy tales, and also be used in the analysis of artistic means as a category of stylistics.
Chapter I. Expressive reading: its characteristic features and features
1.1. Expressive speech and expressive reading
The main goal of schooling is the formation of the student’s personality. Reading as an academic subject has at its disposal such a powerful means of influencing the individual as fiction. Fiction carries enormous developmental and educational potential: it introduces a child to the spiritual experience of humanity, develops his mind, and ennobles his feelings. The deeper and more fully a reader perceives a particular work, the greater the impact it has on the individual. Therefore, as one of the leading tasks of teaching reading, the program puts forward the task of teaching the perception of a work of art.
K.D. Ushinsky saw one of the most important tasks of the school as “accustoming a child to an intelligent conversation with a book.” To solve this problem, the teacher needs to create favorable conditions for working on the content, analysis and assimilation of what is read based on various types of work.
According to O.I. Kolesnikova, reading lessons in primary grades, in addition to the utilitarian goals of the didactic and educational plans, are designed to solve the problem associated with children’s adequate perception of works of verbal art.
“The technique of perception needs to be taught,” says A.A. Leontyev, founder of the Russian theory of speech activity.
Quite often, children, when reading a work of art, perceive what is depicted inaccurately and even incorrectly, because during reading lessons the teacher does not purposefully work on the development of abilities associated with artistic reception. M.S. Soloveitchik argues that the ability to figuratively analyze a work of art is not formed by itself. And if it is absent, then the reader perceives only the main actions of the characters, follows the course of the plot and misses everything in the work that complicates it. This way of reading is fixed in children and persists even into adulthood.
Continuing the thought of M.S. Soloveichik, O.I. Nikiforova writes that with a defective mechanism of perception, readers, even from a truly artistic work, learn only its plot scheme and abstract, schematic ideas about its images, that is, approximately the same as from books of little fiction.
Therefore M.S. Soloveichik, agreeing with A.A. Leontiev, speaks of the need to teach children “thoughtful” perception, the ability to think about a book, and therefore about a person and about life in general. Other famous methodologists, such as M.S., also write about the importance of teaching students to perceive a work of art. Vasilyeva, M.I. Omorokova, N.N. Svetlovskaya. Adequate perception is formed in the process of analyzing the work, which should be a joint (teacher and students) thinking out loud, which over time will allow the development of a natural need to understand what has been read. According to methodologists A.I. Shpuntov and E.I. Ivanina, the analysis of a work should be aimed at identifying its ideological content, the main idea that the author seeks to convey to his reader, at identifying the artistic value of the work. So, many well-known domestic scientists, psychologists, and methodologists have worked and are working on the problem of fully perceiving a work of art. Among them is G.N. Kudina, Z.N. Novlyanskaya, T.G. Romzaeva, M.S. Soloveichik, M.R. Lvov, O.V. Sosnovskaya. However, at present, the problem of full perception of a work of art is insufficiently studied, since a unified classification of levels of perception has not been created, the opinions of scientists are divided regarding terminology, the number of levels of perception, and the skills that a student should have at each level. In addition, the positions of researchers and methodologists differ on when to begin teaching children to understand the author’s position, the mastery of which presupposes a full perception of a work of art. Expressive reading differs from other types of reading, primarily in that it is aimed not at extracting information, but at transmitting it. If other types of reading have certain thematic boundaries (for example, artistic reading refers to the performance of only works of art, exploratory reading is most common in scientific work), then expressive reading is applicable to any text.
Expressive reading also has several forms: individual, dialogical (by roles and persons) and choral (polyphonic). Another classification can be presented based on the style of language and the genre of the text being read.
L.A. Gorbushina characterizes expressive reading as “... the embodiment of a literary and artistic work in spoken speech. To read a work expressively means to find in oral speech the means by which one can truthfully, accurately, in accordance with the writer’s intention, convey the ideas and feelings embedded in the work.”
M.A. Rybnikova calls expressive reading “... that first and main form of concrete, visual teaching of the Russian language and literature, which for us is often more important than any visual clarity.”
Expressive reading brings specificity, clarity and emotionality to the teaching of language and literature, which makes it possible to increase the effectiveness of teaching and involve all students in working on the work, which makes the learning process creative. Expressive reading teaches intonation, punctuation, vocabulary, etc.
1.2.Components of expressive reading
Expressive reading as the highest type of reading is the ability to use the basic means of expressiveness to reflect in reading one’s understanding, assessment of the content and meaning of the text, attitude towards it, the desire to convey all this to the listener or audience with the greatest completeness, persuasiveness and contagiousness, to make it understandable to them the intention with which the reader takes up reading and which he tries to reveal through his reading.
The main means of expressiveness include: breathing, logical and psychological pauses, logical and phrasal stress, tempo, raising and lowering the voice (melody), voice strength, voice coloring (timbre), tone, intonation, facial expressions and gesture.
Breath. The concept of “speech technique” includes correct breathing (the physiological basis of speech), voice (lasting sound), pronunciation (diction) in the process of speaking and reading.
Proper breathing involves using air economically and evenly. This is achieved by using the entire muscular system of the chest. The replenishment of the lungs with air occurs imperceptibly in the intervals between words or phrases, where it is required by the meaning of speech.
The correct type of breathing is mixed costal-diaphragmatic breathing. The lower lobes of the lungs are the most capacious. When you inhale deeply, they fill with air, the chest expands, and as the air is gradually consumed while reading, it falls. At the same time, the ribs and diaphragm move vigorously. We must learn to control our breathing so that during reading it does not interfere with the reader or distract the listeners. Proper breathing during speech consists not only in the economical consumption of air, but also in the timely and imperceptible replenishment of its supply in the lungs (during stops and pauses). While reading aloud, the shoulders are motionless, the chest is slightly raised, and the lower abdomen is tucked. With improper chest breathing, only part of the chest muscles is used, and the weakest. Such breathing tires the chest with frequent breaths, and the air is wasted irrationally.
Voice. When pronouncing words, we exhale air from the lungs, which passes through the respiratory tract into the larynx, where, as a result of the closure and opening of the vocal cords, it forms a sound called voice. The voice has the following properties: strength, height, duration (tempo), flight, quality (timbre). These properties of the voice are an important condition for expressiveness.
It is necessary to distinguish between sound strength and volume. “The strength of sound is that objective quantity that characterizes the real energy of sound... Loudness is a reflection in our consciousness of this real strength of sound, i.e., a subjective concept... The solution to the discrepancy between the strength and loudness of sounds is in the unequal sensitivity of our hearing to tones of different heights, although of equal strength."
Loudness should be understood as the fullness of the voice. Change of power voices are used as one of the expressive means. Reading only loudly or only quietly gives the impression of monotony. Over the course of a certain segment of speech, the tone consistently changes in pitch: it becomes higher, then lower. In order for the voice to easily move from low to high tones and vice versa, it is necessary to develop its flexibility and range.
A well-produced voice is distinguished by flight. Flight is the ability of sound to fly into the distance, spread over long distances, and stand out against the background of other sounds. In addition to strength, height and duration, the sound of the voice also differs in its quality, that is, in the color of the voice - timbre. “Timbre, that is, the sound coloring of the voice, as well as the strength of sound, its softness and “warmth,” can improve with constant care for it, with special exercises, each time individually selected for a given voice.”
Intonation. The set of jointly acting sound elements of oral speech, determined by the content and purpose of the utterance, is called intonation.
The importance of intonation in expressive speech is very great. “No living speech is possible without intonation,” say psychologists. “Intonation is the highest and most acute form of speech influence,” say the masters of artistic expression.
It phonetically organizes speech, dividing it into sentences and phrases (syntagms), expresses semantic relationships between parts of a sentence, gives the spoken sentence the meaning of a message, question, order, etc., expresses the feelings, thoughts, states of the speaker — this is how philologists assess the role of intonation.
The elements of intonation, according to their cumulative role in oral speech, should be considered as an indivisible whole. However, for the convenience of illumination, it is necessary, somewhat artificially highlighting the main components of intonation, to talk about each of them separately.
Logical and phrasal stress. A complete syntactic intonation-semantic rhythmic unit is called a syntagma or phrase. A syntagma can be one word or a group of words, for example: Autumn. Our entire poor garden is crumbling. From pause to pause, the words are spoken together. This unity is dictated by the meaning, the content of the sentence.
A group of words representing a syntagma has an emphasis on one of the words, mostly the last one. Logical stress must be distinguished from phrasal stress. (True, sometimes these types of stress coincide: the same word carries both phrasal and logical stress.) The main words in a sentence are highlighted, the tone of voice and the force of exhalation bring them to the fore, subjugating other words. This is “promotion by the tone of voice and the force of expiration (exhalation) words to the fore in a semantic sense and is called logical stress.”
In a simple sentence, as a rule, there is one logical stress, but sentences with two or several logical stresses are often found. Logical stress is very important in oral speech. Calling it a trump card for the expressiveness of oral speech, K. S. Stanislavsky said: “The accent is the index finger, marking the most important word in a phrase or in a bar! The highlighted word contains the soul, the inner essence, the main points of the subtext!
If the logical stress is highlighted incorrectly, then the meaning of the entire phrase may also be incorrect.
Will you be at the theater today? (and not anyone else?)
Will you be at the theater today? (will you come or not?)
Will you be at the theater today? (and not tomorrow, not the day after tomorrow?)
Will you be at the theater today? (and not at work, not at home?)
Logical and psychological pause. Meaningful pronunciation of a sentence requires its correct division into units, beats. But in ordinary coherent speech there is no clear division into words, so the gaps, the white spaces separating words from each other in a written or printed text, are not always indicators of the division of speech in pronunciation. A sign, a signal to stop, is the semantic completeness of a syntagma or sentence. The division of speech is indicated by pauses. A pause unites words into a continuous series of sounds, but at the same time it separates groups of words and limits them. This is a logical pause. Pauses can be of different durations, depending on the thought being expressed and the content of what is being read. The reader, observing logical pauses, pronounces the words contained between them together, as one word. A pause divides the phrase into links.
With an incorrect pause, the meaning of the sentence is violated, its content becomes unclear, and the main idea is distorted.
Logical pauses shape speech and give it completeness. Sometimes a logical pause turns into a psychological one. A logical pause “is allotted a more or less definite, very short duration. If this time drags on, then the inactive logical pause should rather degenerate into an active psychological one.”
A psychological pause is an expressive means when reading a work. According to K. S. Stanislavsky, “eloquent silence” is a psychological pause. It is an extremely important tool of communication." “All of them (pauses) they know how to convey what is inaccessible to words, and often act in silence much more intensely, subtly and irresistibly than speech itself. Their wordless conversation can be interesting, meaningful and convincing no less than verbal.”
“The pause is an important element of our speech and one of its main assets.” Pause division of speech (pause) is very important for understanding the read and spoken text. It is between two pauses, following one after another, that a segment of speech is distinguished, which is the main intonation unit.
Rhythm is the quantitative ratio of effective durations (movement, sound) to durations conventionally taken as a unit at a certain tempo and size.” This is how K. S. Stanislavsky defines the concepts of tempo and rhythm, which we need to study oral expressive speech. These concepts are very close, and the phenomena themselves are almost inseparable in speech; K. S. Stanislavsky combines tempo and rhythm into one concept - “tempo-rhythm”.
“Letters, syllables and words,” he says, “are the musical notes in speech from which measures, arias and entire symphonies are created. It’s not for nothing that good speech is called musical.”
Timbre- this is a specific (supra-segmental) coloring of speech, giving it certain expressive-emotional properties.
Timbre is considered as a very important, but additional means of enriching the melody of speech and is organically connected with it and determines it. Each person has his own characteristics of the sound of speech, associated with the structure and operation of his speech apparatus, the nature of the sounds of his voice. By the totality of these signs, even without seeing the person, you can find out what exactly he is saying. But the color of speech can change and deviate from the usual norm, depending on emotions. The stronger the emotions, the more deviations from the usual sound. The expressiveness of speech is conveyed by this deviation. Timbre colors the entire work, giving it endlessly varied shades.
Timbre is an exponent of the artistic interpretation of the text; the reader not only conveys it in accordance with the understanding of the creative tasks of the author of the work, but also enriches the sound with his own creative ideas. There are no recipes for “timbre coloring.” Thoughtful reading of the text, “getting used to” the images of the writer, the poet - this is what provides the basis for emotionally expressive reading. “The harmonious unity of speech intonation with its internal roots should provide speech with that naturalness and simplicity that is more expensive than thoughtless “beauty.”
Facial expressions- these are expressive movements of the facial muscles, which are one of the forms of manifestation of various feelings. Accompanying speech, they complement and enhance its meaning. For the reader and storyteller, facial expressions are one of the additional means of influencing the audience. Through facial expression and eyes, the narrator conveys his experiences, his attitude to events, persons and circumstances. Facial expressions are closely connected with the thoughts, actions and feelings of the speaker, with his entire inner life. This gives grounds, by observing reality and studying the manifestations of internal experiences, to use facial expressions in the process of expressive oral speech, that is, to make facial movements voluntary.
A special means of expression is gesture. This is also an additional means of expressiveness of speech, completely subordinate to it. Skillful selection of certain gestures helps the reader to reveal the essential aspects of the life depicted in the story. At the same time, the reader and storyteller need a gesture that does not duplicate speech, does not compete with it, but follows from the content and is conditioned by it. “...Even the most complete and varied system of gestures is much poorer than the system of words... even with the most limited endurance, a gesture will never evoke that response in the consciousness, in the imagination of the listener, which a word filled with thought always evokes.”
Thus, in order to read a work expressively, you must be able to correctly use all these intonation means. After all, they are the components of expressive reading.
1.3 Methodological conditions for the formation of expressive reading when working with literary text
In order to learn to read expressively, you need to master certain skills and abilities. They are based on text analysis and intonation means of speech expressiveness. The main skill is the ability to identify the main task. This skill also includes a number of private skills, the isolation of which allows us to determine the logical sequence of their formation. These include:
The ability to understand the thoughts of the characters, empathize with them, determine one’s attitude to events;
Skills that develop creative, recreating imagination;
Ability to control breathing correctly;
Ability to correctly use the properties of the voice;
Ability to correctly establish logical and phrasal stress;
Ability to select the desired pace and rhythm of reading;
Ability to use facial expressions and gestures;
Given the age of primary school children, we cannot develop all skills at once. They are formed sequentially one after another throughout the entire stage of teaching literature. Therefore, we can highlight the basic skills that need to be developed in primary school students:
Ability to control breathing;
Ability to correctly analyze text;
The ability to mentally recreate images conveyed by the author;
Ability to choose the right intonation;
Ability to use logical and psychological pauses;
Ability to correctly place phrasal and logical stress;
So, it is necessary to develop skills related to expressive reading in elementary school, but it is not advisable to develop all skills at this age, but only some.
1.3.1 Text analysis
There is an opinion that analysis dries out and “discolors” the perception of a work. But it is impossible to truly comprehend the depth of a work of art without thinking about it, only by reading. And the point is not that analysis interferes with direct perception, but that excessive rationality of analysis destroys artistic perception: “...in art, rational analysis, taken by itself and for itself, is harmful, since it is often, due to its intellectuality, mathematics, dryness, does not inspire, but, on the contrary, cools the impulse of artistic passion and creative delight,” writes K. S. Stanislavsky.
When you become interested in a work, you naturally want to re-read it, think deeply about the content, look closely at the form, and this is analysis. The course of creative analysis should be natural and present a series of answers to questions that arise as we think about the work. Of course, we want to know who the author is. This, on the one hand, is the result of a born feeling of sympathy, and on the other, a desire to understand why he was able to write like that. We strive, first of all, to learn about the author because each work of art is a reflection of the world in the perception of a given artist, and therefore for a real deep understanding of a work of art it is necessary not only to know the life depicted, but also the one who, in his own way, depicted, brought something of himself into this work.
The analysis of the work itself can be carried out in different sequences: by deduction (from the general to the particular) or by induction (from the particular to the general). The first path, when one goes from defining the theme, idea and composition to the system of images, resembles the path of the author. The inductive path corresponds to the sequence in which the reader gets acquainted with the work. He first traces the development of the plot and composition and at the same time gets acquainted with the images and only at the end decides on the theme and idea of the work.
Analysis of a work usually begins with determining the genre. The genre is often indicated in the subtitle of the work. Some such designations immediately indicate the features of the work and their corresponding performance. In all cases, the reader should not ignore the question of genre, since the genre largely determines the manner of performance.
The next question that arises before the person analyzing the work is the question about the theme of the work, about what phenomenon of life forced the author to take up the pen. There are many works in which the theme is easy to determine. When defining a topic, we must not forget that literature is the study of humankind. Therefore, the topic always lies in the sphere of human relations.
Determining the idea of a work of art is usually more difficult than defining the theme. There are works in which the author made it easier for the reader to understand the idea by formulating it (most fables, a number of lyrical poems). But in most works the idea is not formulated by the author. It follows from the entire content of the work. When determining the idea of a work, one must avoid simplified formulations, and on the other hand, it is necessary to find the main one among many ideas.
A reader, including a teacher, rarely has to read large epic works in their entirety; more often they read excerpts from them. When determining the theme and idea of a passage, it is necessary to take into account the theme and ideological orientation of the entire work. Otherwise, a gross violation of the author's intention may occur.
In another sense, the language of the images-characters is important. Along with actions, relationships with other people, the author’s characterization and portrait, it gives us the opportunity to understand the image of the hero of the work. These images are extremely important both for understanding the idea of the work and for the vividness of perception. Avoid schematism, listing character traits without taking into account the unique originality that is inherent both to people in life and to the heroes of a work of art. After all, images are not only illustrations of ideas. The reader must fully imagine the hero so that the character is as concrete for him as a good acquaintance. The author imagines a hero in the same way, no matter how dispassionately he narrates, one can see a certain attitude towards the persons he depicts. This attitude of the author must be perceived by the reader-performer and transmitted to the listeners. In essence, conveying such attitudes towards the characters, making listeners not only be interested in the fate of the characters, but also love them or hate them, laugh at them - this is the main task of the performer. If the listener feels deep sympathy for the characters or antipathy towards them, the reader can consider his task completed. In addition to the author's characterization, colored by a certain attitude towards the character, it is very important to make the very speech of the person depicted characteristic. What the characters say is given by the author, but how he speaks must be shown by the performer. To do this, you need to remember the effectiveness of speech, where each point is a verbal act that has a specific purpose.
1.3.3 Breath control
Developing correct voluntary breathing requires training the breathing apparatus and establishing the correct mode. This requires special exercises, which are best done under the guidance of an experienced reader or specialist teacher. With some self-control, you can work on your breathing yourself.
Exercises:
1. Stand straight, calmly, without tension. Rotate your shoulders without raising or lowering them. Place one hand on your upper abdomen. the other on the side, above the waist, to control the movement of the diaphragm and ribs. Take a small breath, counting 1 - 5. Control the simultaneous movement of the diaphragm and ribs. Be careful not to overfill your lungs. Inhale and hold the air for a count of 1 - 3, without relaxing your muscles. Then exhale smoothly, without jerking, for a count of 1-5. Relax your abdominal muscles, rest and repeat the exercise.
1.3.4 Selecting the desired intonation
Is it possible to learn intonation that would accurately reflect the content of the statement? Psychologists answer this question negatively: “This is the same as learning to cry, laugh, grieve, rejoice, etc. The intonation of speech in a certain life situation comes by itself, you don’t need to think or care about it.” ... But there are ways to find intonation when the task is to read some text that was not compiled by us, this task is solved in the theory of stage speech, the most perfect of which is considered to be the system of K. S. Stanislavsky.” All speech is situational. Intonation is a response to a conversational situation. It is to a certain extent involuntary. During the process of his own speech, a person does not think about it: it is a manifestation of his internal state, his thoughts, feelings, the characteristics of his nervous system. With the transmission of someone else's written speech (when reading a pro-work), liveliness and intonation correspondence appear in the communication situation: the “foreign” speech should be “appropriated” by the reader, should become “one’s own”. This technique is characterized by psychologists as follows: “You need to communicate your own thoughts, believing that these messages are new and interesting for the interlocutor. Then both partners will become interested in communication, and speech will acquire an emotional appeal, expressed in intonation.”
1.3.5 Logical and psychological pauses
It is almost impossible to teach how to hear a logical pause, because This is a physiological process, this skill can be developed through training and text analysis. “A psychological pause can occur at the beginning of a phrase - before words, within a phrase - between words and at the end of a phrase - after words have been read. In the first case, she warns the meaning of the upcoming words; in the second, it shows the psychological dependence (unifying or separating) of the expressed thought from the subsequent thought, emphasizing the meaning of these thoughts and the attitude towards them; in the third case, she lingers on the spoken words and images, as if prolonging the depth of their meaning in silence. The impact of the psychological pause in the latter case is enormous.”
1.3.6 Phrase and logical stress
The correct placement of logical stress is determined by the meaning of the entire work or its part (piece). In each sentence you need to find a word that has logical stress. The practice of reading and speaking has developed a number of guidelines on how to place logical stress. It is impossible to mechanically apply these or other rules for setting logical stresses. You should always take into account the content of the entire work, its leading idea, the entire context, as well as the tasks that the teacher sets for himself when reading the work in a given audience. It is not recommended to “abuse” logical stresses. Speech overloaded with stress loses its meaning. Sometimes this overload is the result of the separation of words during pronunciation. “Separation is the first step towards emphasizing...—the first step towards extending the emphasis to that which does not require emphasis; this is the beginning of that unbearable speech where every word becomes “significant”, where there is no longer anything important, because everything is important, where everything matters, and therefore nothing means anything anymore. Such speech is unbearable, it is worse than unclear, because you don’t hear unclear speech or you don’t have to listen, but this speech forces oneself to listen, and at the same time it is impossible to understand, because when the emphasis does not help to clearly reveal the thought, it distorts and destroys it. Fussiness makes speech difficult. Calmness and restraint make it easier.”
The formation of intonation skills in primary school in accordance with the age of children is achieved through practical work on expressive reading without relying on any theoretical knowledge. Preparation for expressive reading is conventionally divided into three stages:
a) clarifying the specific content of the work, analyzing the motives of behavior of the characters, establishing the idea of the work, etc., in other words: understanding the ideological and thematic basis of the work, its images in unity with artistic means;
b) marking the text: putting pauses, logical stresses, determining the pace of reading;
c) a reading exercise (repeated reading is possible until you can convey in your voice the author’s thoughts, his attitude to the depicted events and characters).
Analysis of the content and ideological orientation of a work includes teaching expressive reading; they appear in a certain unity. In order for children to develop the skill of expressive reading of works of art, methodological support is necessary. At school, the main support is a textbook on literary reading. But an analysis of textbooks has shown that at the present stage, textbook authors pay very little attention to expressive reading of works of art. This conclusion was made based on the lack of assignments and questions after literary texts that would help the teacher develop the skill of expressive reading of works by students.
Chapter II. Analysis of research work on the development of expressive reading in the process of analyzing a work of art at school
2. 1 Ascertaining experiment
In order to determine the initial level of development of the ability to expressively read works of art, a confirmatory experiment was conducted in two classes: experimental 4 “A” - 21 people and control 4 “B” - 21 people in Municipal Educational Institution Secondary School No. 1 in the village of Gornye Klyuchi, Primorsky Territory.
Both classes are taught according to the textbook by V.G. Goretsky "Native Speech". During the ascertaining experiment, reading lessons were visited in fourth grades in order to find out how expressively students can read works of fiction.
Ivan Sergeevich Shmelev.
"Yegoryev Day".
“...The street was flooded with the pinkish light of the sun rising behind the houses, the upper windows glittered. So, the wild gates of the shepherd's yard opened, and the old, gray-haired shepherd owner, in a new blue coat, in boots smeared with tar and in a tall hat, similar to the top hat that dandy best men wear at weddings, went out into the middle of the still deserted street, set I placed my hat on the pebbles at my feet, crossed myself to the sky behind our house, put a long horn to my lips with both hands, puffed out my thick pink cheeks - I shuddered at the first sounds: the horn began to play so loudly that it even rattled in my ears. But it was only like that at first. And then he played more subtly, spread out and died away. Then he began to take it higher and higher, pathetic, pathetic... - and suddenly he started playing a merry song... and I felt free and happy, I didn’t even hear a chill. The cows mooed in the distance and began to approach little by little. And the shepherd still stood and played. He played in the sky behind our house, as if he had forgotten about everything that was around him. When the song ended and the shepherd caught his breath, voices were heard on the street:
What a master!.. Pakhomych has proven himself!.. a master... And where does he have so much spirit!..
It seemed to me that the shepherd also hears and understands this, and it pleases him...”
The procedure for conducting experimental work.
Each student reads the passage expressively. The development of the skill of expressive reading of lyric poems was carried out according to the following criteria:
Correct breathing;
Correct intonation;
Correct placement of pauses;
Optimal reading pace.
Characteristics of expressive reading of an excerpt from I. S. Shmelev’s story “Yegory’s Day” in grades 4 “A” and 4 “B” (ascertaining experiment).
|
4 "A" class (experimental) |
4 "B" class (control) |
|
|
Improper breathing |
8 people (38%) |
7 people (33%) |
|
14 people (66%) |
13 people (62%) |
|
|
Wrong choice of intonation |
12 people (57%) |
11 people (52%) |
|
13 people (62%) |
14 people (67%) |
|
|
Incorrect pausing |
15 people (71%) |
13 people (62%) |
|
Incorrect reading pace |
14 people (66%) |
13 people (52%) |
The results obtained show that the skill of expressive reading of lyric poems in children is developed at a low level.
8 people do not know how to control their breathing correctly. in the experimental and 7 people in the control class; change voice strength - 14 people. in the experimental and 13 people. in the control; choose the desired intonation - 12 people. in the experimental and 11 people. in the control class; correctly place logical stress - 13 people. in the experimental and 14 people in the control class; set pauses correctly - 15 people. in the experimental and 13 people in the control class; choose the desired pace - 14 people. in the experimental class and 13 people in the control class.
Based on these results, we can conclude that in the lessons very little attention is paid to working on expressive reading. Most students do not know how to read works of fiction with proper intonation, do not observe tempo, do not pause, and read quietly and in one breath. These facts are largely explained by the fact that children have the most general ideas about the expressiveness of reading. This became clear from the students’ responses to the question: “What does it mean to read expressively?”
42 people took part in the survey. After analyzing the children's answers, the following results were obtained:
25% believe that this means taking your time, reading slowly, pausing between words;
From the children’s responses, we can conclude that only a small number of children (4%) characterize expressive reading taking into account different components of expressiveness. Therefore, it is necessary to teach children to read expressively, because only expressive reading of literary texts helps to understand and experience the work.
2.2. Formative experiment
Based on the analysis of literary, psychological, pedagogical and methodological literature, as well as taking into account the results of the ascertaining experiment, a training experiment was developed and conducted. The purpose of the experiment was to develop the ability of 4th grade students to read works of art expressively. Pupils of grade 4 “A” of Municipal Educational Institution Secondary School No. 1 in the village of Gornye Klyuchi took part in the formative experiment - a total of 21 people. The basis for training was the textbook “Native Speech” by V.G. Goretsky and others.
Formative experiment program
|
Lesson number |
Lesson topic |
Learning Objectives |
Developed knowledge and skills |
|
I. S. Shmelev “Yegoryev Day” |
2. Development of hearing and listening skills. 3. Ability to identify linguistic means. 5. The ability to correctly analyze the text. |
||
V. V. Nabokov “Butterflies” |
1. Speech breathing. 2. Analysis of a work of art in order to clarify the linguistic means of expression. 3. Observation of the connection between the author’s feelings and the setting of logical stress and changes in the strength of the voice when reading the work. |
1. The ability to take breath correctly. 3. The ability to correctly identify epithets. 4. The ability to correctly place logical stress in the text. 6. The ability to mentally recreate pictures of nature described by the author. |
|
|
B.K. Zaitsev “Home Lar” |
1. Speech breathing. 2. Work on the analysis of the work. |
1. The ability to take breath correctly. 2. The ability to holistically perceive and comprehend the text. 4. The ability to mentally recreate the images of the main characters. |
|
|
B. S. Zhitkov “How I caught little men” |
1. Analysis of a work of art in order to clarify the linguistic means of expression. 2. Observation of the connection between the author’s feelings, changes in the strength of the voice and the choice of the correct intonation when reading a work. |
2. The ability to mentally recreate the images of heroes described by the author. |
|
|
K. G. Paustovsky “Basket with fir cones” |
2. Practicing expressive reading skills. |
1. The ability to holistically perceive and comprehend the text. 3. The ability to choose the right intonation correctly. |
|
|
M. M. Zoshchenko “Christmas tree” |
1. Work on artistic images in order to clarify linguistic means of expression. 2. Practicing the skill of correctly placing pauses when reading a work. |
1. The ability to holistically perceive and comprehend the text. |
|
|
A. P. Platonov “Dry bread” |
1. Work on the analysis of a work of art. |
1. The ability to holistically perceive and comprehend the text. 3. The ability to mentally recreate the images described by the author. 4. The ability to pause correctly when reading a work of fiction. |
The developed program includes two interrelated areas:
Work on the perception of a work of art (linguistic features of the text, images of the main characters, theme and idea of the work).
Work on the components of expressiveness: setting pauses and stress, breathing, voice strength, reading tempo, intonation.
Let us show how work was carried out to establish the relationship between the features of a work of art and the choice of certain components of expressiveness when students read some texts.
For example, when studying the story “Egory’s Day” by I. S. Shmelev, students observed the connection between the author’s emotions and the correct placement of logical stress. After the secondary reading of the text, work was carried out on the work.
Did you understand everything in the story?
What particularly interested you?
How did the old shepherd play? Support with words from the text (expressive reading).
How did the young shepherd play? Support with words from the text (expressive reading).
What visual means does the author use to convey his feelings?
Did you hear the horn playing? Tell us about it.
Why did the old shepherd play this morning “for the last time”?
How do you imagine the old shepherd?
What is a young shepherd like?
Work on the work of B. S. Zhitkov “How I Caught Little Men” is carried out as follows: first, students read the passage they read at home, tracing the dynamics of events, noting how the tension gradually increases (it is important that children observe the relationship between the feelings of the main character and the strength voices when reading the work). After finishing reading the work, students take a pause so that they can feel and experience what they heard.
Teacher questions about the reading:
What trick did the boy resort to?
Why did he do this?
What did the boy Borya experience when his grandmother left and the treasured steamboat ended up in his hands?
Read how B. S. Zhitkov talks about this (expressive reading).
What do you think the boy experienced when he saw that the ship was empty?
Why did Bori's hands tremble when he tried to fix everything? Is it just because of fear of being punished?
How do the last words of the work characterize the boy?
Which episode of the story moved you the most?
What feelings do you have for the main character?
Which part of the story did you find more intense? Read it.
Why do you think B. S. Zhitkov decided to talk about the deeply personal experiences of his childhood?
What does this story teach?
Work on studying M. M. Zoshchenko’s story “The Christmas Tree” is carried out after the students have initially read the work at home. The next lesson involves a secondary conversation about the story, as well as an expressive reading of some episodes.
Work based on the story (students read the work by role).
What do you want to say about what you read?
What mood did you feel?
How did the children seem to you?
Why was the long-awaited holiday ruined?
What words in the story do you consider the most important, the most important? Read them.
Why do you think the writer remembered this Christmas tree for the rest of his life?
What does this story teach?
Do you think Mikhail Mikhailovich is right that he decided to tell other children about this event from his childhood? Why did they decide this?
The work on developing the skill of expressive reading of works of art according to the program of this experiment turned out to be effective. The results are presented in the control experiment.
2.3. Control experiment
In order to determine the level of development of the ability to expressively read works of art after special training, a control experiment was conducted in two classes: experimental 4 “A” - 21 people and control 4 “B” - 21 people in Municipal Educational Institution Secondary School No. 1 in the village of Gornye Klyuchi .
The procedure for conducting a control cut.
Each of the students expressively reads an excerpt from the already familiar work of A. I. Kuprin “Barbos and Zhulka.” The development of the skill of expressive reading of works of art was carried out according to the following criteria:
Correct word stress;
Correct breathing;
Correct intonation;
Correct placement of phrasal and logical stress;
Correct pause setting;
Optimal reading pace.
The obtained data were calculated and presented in quantitative and percentage terms in the table.
Characteristics of expressive reading of a familiar work of art in grades 4 “A” and 4 “B”.
|
Criteria for assessing the development of expressive reading skills |
Results in percentage and quantity |
|
|
4 "A" class (experimental) |
4 "B" class (control) |
|
|
Improper breathing |
||
|
12 people (57%) |
||
|
Wrong choice of intonation |
11 people (52%) |
|
|
Incorrect placement of phrasal and logical stress |
13 people (62%) |
|
|
Incorrect pausing |
10 people (48%) |
11 people (52%) |
|
Incorrect reading pace |
13 people (62%) |
|
The results of this experiment show that after special training in the experimental class, the level of development of the skill of expressive reading of a work of fiction increased.
The ability to properly control breathing increased by 19%;
The ability to choose the right intonation - by 19%;
The ability to correctly place phrasal and logical stress - by 24%;
The ability to pause correctly - by 23%;
Based on these results, we can conclude that the most effective work was on the formation of such components of expressiveness as voice strength, reading tempo, and phrasal and logical stress. The level of development of other components of expressiveness (intonation, pauses, breathing) also increased.
In the control 4 “B” class, where the skill of expressive reading of a work of fiction was not developed with the help of special training, the results practically did not change. At the first stage, a confirmatory experiment was conducted, the purpose of which was to identify the initial level of formation of the skill of expressive reading of a familiar work of art. The results of the ascertaining experiment showed that this skill is developed at a low level in children. These results show that elementary school children can develop the skill of expressive reading of works of fiction if attention is paid to this in every lesson.
Conclusion
Expressive reading, as the highest type of reading in school settings, is, as a rule, applicable, firstly, mainly to works of art, and secondly, most of all to them
All of the above-described means of expression transform artistic speech into expressive speech. But is everything known about expressive reading? Is it enough to have tropes in your speech to correctly present your thought?
Expressive reading is the embodiment of a literary and artistic work in spoken speech. Expressiveness of a work means finding in oral speech a means by which one can truthfully, accurately, in accordance with the writer’s intention, convey the ideas and feelings embedded in the work. This means is intonation, which will be discussed below. Listening to expressive reading, children get the opportunity to penetrate into the very essence of the work and learn to understand the inner world of the characters. When the teacher reads aloud, children perceive the work through his interpretation of the text. The reader is never indifferent to what he reads. He leads his listeners; By the power of his skill, will, and through artistic words, he influences listeners, evoking sincere feelings, real emotion, a desire to punish the guilty, protect the weak, and shelter the defenseless from enemies. The teacher uses this power of influence of the living word in his work in the classroom and outside the classroom. .
By reading a work of fiction to children, the teacher contributes to the development of the students’ imagination and cultivates their artistic taste.
Expressive reading deepens children's understanding of the expressive means of oral speech, its beauty and musicality, and serves as a model for students.
When expressively reading a work of art, the reader conveys its content as close as possible to the author’s intention, based on the idea of the work. He carefully preserves the writer’s speech style and the composition of the work. In order for the work to be accepted by the listeners and emotionally perceived as best as possible, the reader uses the entire range of expressive means: intonation, facial expressions, gestures, etc.
The basic principle of expressive reading is penetration into the ideological and artistic meaning of what is read. When preparing to read a work, the teacher carefully reads it, studies its content, understands for himself what the idea of this work is, what its pathos is, what range of life phenomena will be discussed in it, in what order the presentation of events follows, what kind of people act in work. .
Correct analysis of a literary text depends on the reader’s speech technique.
Breathing
The basis of external (pronunciation) speech is breathing. The purity, correctness and beauty of the voice and its changes (tone of shades) depend on proper breathing. Before you start speaking, you need to take a breath. When you inhale, the lungs fill with air, the chest expands, the ribs rise, and the diaphragm lowers. Air is retained in the lungs and is gradually used sparingly during speech.
Breathing can be voluntary or involuntary. The difference between these types of breathing can be schematically depicted as follows:
- - involuntary breathing: inhale - exhale - pause;
- - voluntary breathing: inhale - pause - exhale
You cannot exhale to failure or raise your shoulders when inhaling. The air reaches the lungs imperceptibly, during natural stops, by the so-called lower breathing, in which the upper chest and ribs remain raised and motionless, but only the diaphragm moves. This type of breathing is called costodiaphragmatic, voluntary (as opposed to normal, involuntary).
The development of correct voluntary breathing during speech and reading is achieved through training, i.e., appropriate exercises.
These exercises can be performed either with a teacher or by students independently.
The voice also participates in the formation of speech. The sound of a voice is the result of complex psychophysiological activity directed by the speaker’s intellect, his emotions and will. Pronouncing words is associated with breathing. When intending to speak, a person first inhales air and then gradually exhales it. As a result of the closure of the vocal cords, the voice is formed. But he's pretty weak.
The teacher must pronounce each word correctly: clearly, distinctly. His speech is a model for children: they imitate him, sometimes even learning the wrong pronunciation. Therefore, the teacher must, first of all, eliminate ambiguity, illegibility, haste and errors in his speech.
Clarity and purity of pronunciation is developed through systematic exercises in articulation, i.e. acquisition of stereotypes of movement of the speech organs necessary for pronouncing certain sounds. These exercises also help eliminate sluggish lips, stiff jaws, sluggish tongue, lisp, etc.
The articulation of sounds is improved in Russian language lessons in a phonetics course. Knowledge of phonetics helps to perform diction exercises correctly.
· Orthoepic pronunciation
Speech sounds are the “natural matter” of language; Without a sound shell, the language of words cannot exist. The rate of pronunciation of sounds that make up words and combinations of words must correspond to the phonetic system. Thus, a speaker of Russian distinguishes between basic sounds, their qualities, and changes in certain positions and combinations.
The concept of “pronunciation” includes the sound design of individual words or groups of words, as well as the sound design of individual grammatical forms.
The set of norms of literary pronunciation adopted in a given language is called orthoepy.
Pronunciation should be subject to the requirements of orthoepy, that is, a system of rules establishing uniform pronunciation.
Orthoepic correct pronunciation is one of the qualities of literary speech and is strictly mandatory for the teacher. It is difficult, but quite possible, to master spelling rules, especially for those who have dialectical deviations in their speech.
Listening to the exemplary speech of masters of artistic expression can be of great help in mastering the rules of literary pronunciation. For this purpose, it is useful to listen to the performances of readers and actors in recordings. If possible, it is interesting to record your speech on tape, so that later, listening to it, you can correct shortcomings.
The teacher’s speech when reading a work of fiction to children must be impeccable, since children learn speech in an imitative way, by imitation. The teacher’s speech is one of the most necessary conditions for creating a speech environment conducive to the acquisition of the native language. .
Correct word stress
The stress in the Russian language is mobile and varied: took - tookA, took, taken, taken; agreement, agreement, agreement; froze, froze, froze, froze, froze, frozen, frozen.
There are words that have two stress options: satiated, greedy, otherwise.
It is worth remembering some difficult cases in placing accents:
1. Transfer of stress during declination from the first syllable to the last:
NEWS - news, wolves - wolves, nails - nails, funeral - funeral;
2. Transfer of stress when changing gender, number in feminine adjectives:
young, young, but: young;
any, any, but: any;
expensive, expensive, but: expensive;
3. Changing the meaning of the word when the emphasis is transferred: property (quality) - property O (kinship by marriage); Coal (from coal) - coal (from corner); slept (from the verb to fall) - slept (from the verb to sleep), etc.
The correct stress in a word can be checked using available Russian dictionaries.
Each independent word has an accent, and usually only one. Functional words and particles adjoin independent words and usually do not have stress, but sometimes some monosyllabic prepositions: on, for, under, by, from, without with certain nouns take or can take on stress; the independent word following them turns out to be unstressed: on the water, on the side, by the hand, on the field, etc.
In a sentence, in addition to stressed and unstressed words, lightly stressed words can also differ: two weeks - (two - lightly stressed); The evening was dry and warm (it was slightly shocking). .
expressive reading artistic schoolboy
· Expressive reading is an opportunity to penetrate into the very essence of the text, learn to understand its “inner world.” The basic principle of expressive reading is penetration into the ideological and, if present, artistic meaning of what is being read.
- Expressive reading is one of the aspects of reading skill. Reading that correctly conveys the ideological content of the work and its images. Signs of expressive reading:
1) the ability to observe pauses and logical stresses that convey the author’s intent;
2) the ability to observe the intonation of a question, statement, and also give the voice the necessary emotional tones;
3) good diction, clear, precise pronunciation of sounds, sufficient volume, tempo.
- The main condition for expressive reading is the conscious perception of the text by the reader. Natural, correct expressiveness can be achieved only on the basis of thoughtful reading and a sufficiently deep penetration into the meaning of the text
Means of speech expression
- When working on the expressiveness of speech, great attention must be paid to the means of speech expressiveness: intonation, logical stress, pause, tempo, strength and pitch of the voice. All means of speech expression are closely interconnected and complement each other.
Intonation and its components
- The importance of intonation in expressive speech is very great. “No living speech is possible without intonation,” psychologists say. “Intonation is the highest and most acute form of speech influence,” say the masters of artistic expression. It phonetically organizes speech, dividing it into sentences and phrases (syntagms), expresses semantic relationships between parts of a sentence, gives the spoken sentence the meaning of a message, a question, an order, and so on, expresses the feelings, thoughts, states of the speaker - this is how philologists evaluate the role of intonation.
- Therefore, in this section we will consider the components of intonation and recommendations for developing intonation expressiveness in students.
- The set of jointly acting sound elements of oral speech, determined by the content and purpose of the utterance, is called intonation.
- The main elements of intonation (or rather components) are as follows:
1) force that determines the dynamics of speech and is expressed in stress;
2) direction, which determines the melody of speech and is expressed in the movement of the voice along sounds of different heights;
3) speed, which determines the tempo and rhythm of speech and is expressed in long sounds and stops (pauses);
4) timbre (shade), which determines the nature of the sound (the emotional coloring of speech).
Accent
· An integral syntactic intonation-semantic rhythmic unit is called a syntagma or phrase. A syntagma can be one word or a group of words. From pause to pause, the words are spoken together. This unity is dictated by the meaning and content of the sentence. A group of words representing a syntagma has an emphasis on one of the words, mostly the last one. One of the words in the group stands out: the phrasal stress falls on it.
· In practice, this is achieved by a slight effort or raising the voice, slowing down the tempo of pronouncing the word, and pausing after it.
· Logical stress must be distinguished from phrasal stress (however, sometimes these types of stress coincide: the same word carries both phrasal and logical stress).
· The most important word in a sentence is highlighted by the tone of voice and the force of exhalation; it comes to the fore, subordinating other words. This “bringing the tone of voice and the force of expiration (exhalation) of a word to the foreground in a semantic sense is called logical stress. In a simple sentence, as a rule, there is one logical stress.
· Logical stress is very important in oral speech. Calling it the trump card of expressive speech, K.S. Stanislavsky said: “The accent is the index finger, marking the most important word in a bar or phrase! The highlighted word contains the soul, the inner essence, the main points of the subtext!” If the logical stress is highlighted incorrectly, then the meaning of the entire phrase may also be incorrect. the correct placement of logical stress is determined by the meaning of the entire work or part of it. In each sentence it is necessary to find the word on which the logical stress falls.
- The practice of reading and speaking has developed a number of guidelines on how to place logical stress. These rules are set out, for example, in the famous book by Vsevolod Aksenov “The Art of the Artistic Word”. With few exceptions, these rules help when reading the text being prepared. Some of them.
1. Logical stress cannot be placed on adjectives and pronouns.
2. Logical stress, as a rule, is placed on nouns, sometimes on verbs in cases where the verb is the main logical word and usually comes at the end of a phrase or when a noun is replaced by a pronoun.
3. When comparing, the placement of logical stress does not obey this rule.
4. When combining two nouns, the stress always falls on the noun, taken in the genitive case and answering the questions whose? whom? what?
5. Repetition of words, when each subsequent one strengthens the meaning and meaning of the previous one, requiring emphasis on each word with increasing effort.
6. Enumeration in all cases (just like counting) requires independent stress on each word.
· These rules for setting logical stress cannot be applied mechanically. You should always take into account the content of the entire work, its leading idea, the entire context, as well as the tasks that the teacher sets for himself when reading the work in a given audience.
- It is not recommended to “abuse” logical stress.
- Speech overloaded with stress loses its meaning. Sometimes overload is the result of word separation during pronunciation. “Separation is the first step towards extending the emphasis to o, which does not require emphasis: this is the beginning of that unbearable speech where every word becomes “significant”, where there is no longer anything important, therefore nothing means anything. Such speech is unbearable, it is worse than unclear, because you don’t hear unclear speech or you don’t have to listen, but this speech forces you to listen, and at the same time it is impossible to understand, because when the emphasis does not help to clearly reveal the thought, it distorts and destroys it.” . (8)
- We must learn not only to place stress, but also to remove or weaken it, obscuring the rest of the phrase. Fussiness makes speech difficult. She is protected by calmness and restraint. Removing stress from other words already highlights the stressed word.
Pause, pace, rhythm of speech
· Meaningful pronunciation of a sentence requires its correct division into phrases and speech beats. But in ordinary coherent speech there is no clear division into words, so the gaps, the white spaces separating words from each other in a written or printed text, are not always indicators of the division of speech in pronunciation. A sign or signal to stop is the semantic completeness of a syntagm or sentence.
· During expressive reading, grouping words into syntagms makes it easier for the reader to analyze the text, and for listeners to correctly perceive it by ear. combining words into groups gives the sentence sound integrity and completeness. The perception of a readable text, divided into syntagms, with the designation of syntagmatic (phrase) stress, is much easier because with such reading the meaning of all logical connections in the sentence and further in the text is established, and thereby an interpretation of the text is given, ensuring its convincing and correct transmission .
· The division of speech is indicated by pauses. A pause unites words into a continuous series of sounds, but at the same time it separates groups of words and limits them. This is a logical pause. Pauses can be of varying lengths, depending on the thought being expressed and the content of what is being read. The reader, observing logical pauses, pronounces the words contained between them together, as one word. A pause divides the phrase into links. Words within the text are pronounced together.
· If there is an incorrect pause, the meaning of the sentence is violated, its content becomes unclear, and the main idea is distorted. We must learn to hear pauses well and observe them when reading.
· Logical pauses formulate speech and give it completeness. Sometimes a logical pause turns into a psychological one. A logical pause “is allocated a more or less definable, very short duration. If this time drags on, then the inactive logical pause should sooner degenerate into an active psychological one.”
· Psychological pause - a stop that enhances and reveals the psychological meaning of a phrase or passage. It is rich in internal content, active, as it is determined by the reader’s attitude to the event, to the character, to his actions. It reflects the work of the reader’s imagination, is immediately reflected in intonation, sometimes even changes the logical grouping of words, since it stems from the inner life, the life of the imagination. Its meaning is characterized by V. Aksenov as follows: “A psychological pause can occur at the beginning of a phrase - before words, inside a phrase - between words, at the end of a phrase - after words read. In the first case, she warns the meaning of the upcoming words; in the second, it shows a psychological dependence (unifying or separating) of the expressed thought from the subsequent thought, emphasizing the meaning of these thoughts and relationships to them; in the third case, it draws attention to the spoken words and images, as if prolonging in silence the depth of their meaning. the impact of the psychological pause in the latter case is enormous.” (6)
· Psychological pause is an expressive means when reading a work. In Stanislavsky’s words, “eloquent silence is a psychological pause. It is an extremely important communication weapon. All pauses are able to prove what is inaccessible to words, and often act in silence much more intensely, subtly and irresistibly than speech itself. Their wordless conversation can be interesting, meaningful and convincing no less than verbal. “A pause is an important element of our speech and one of its main trump cards,” said Vasily Aksenov
· Pause division of speech (pause) is very important for understanding the read and spoken text. It is between two pauses, following one after another, that a segment of speech is distinguished, which is the main intonation unit.
· Tempo and rhythm are inextricably linked with pausing. Speech sounds are composed into syllables and words, that is, into rhythmic parts or groups. Some rhythmic parts or groups require abrupt pronunciation, others - smooth, extended, melodious; Some sounds attract stress, others lack it, and so on. Between the streams of these sounds there are pauses - also of long duration. Thus, in oral speech we notice a certain tempo and rhythm. “Tempo is the speed of alternation of identical durations conventionally taken as a unit in one size or another. Rhythm is the quantitative ratio of effective durations (movement of sound) to durations, conventionally accepted as a unit at a certain tempo and size.”
· This is how K.S. Stanislavsky defines the concept of tempo and rhythm, necessary for the study of oral expressive speech. These concepts are very close, and the phenomena themselves are almost inseparable in speech. K.S. Stanislavsky combines tempo and rhythm into one concept “tempo-rhythm”.
· “Letters, syllables and words,” he wrote, “are musical notes in speech, from which measures, arias and entire symphonies are created. It’s not for nothing that good speech is called musical.”
· Speech should be smooth and continuous in some cases, and fast, easy, clear, and articulate in others. Such flexibility of speech is acquired by a conscious desire to develop a sense of tempo and rhythm. Pace and rhythm, in turn, are determined by the semantic aspect of the text being read and the intentions of the reader or speaker.
· Throughout a sentence or an entire utterance, tempo-rhythm changes depending on the meaning. If you want to attract the attention of the listener, you will pronounce a phrase or part of it slowly, but you will pronounce the introductory words or sentences of thought, secondary ones, expressed incidentally, at an average or even fast pace.
UDK 372.8 BBK 74.560
EXPRESSIVE READING
AS A MEANS OF IMPROVEMENT
COMMUNICATION CULTURE OF TEACHERS
BEHIND. Shelestova
Annotation. Many graduates of pedagogical universities do not go to work in schools because they experience communicative difficulties in communicating with children. Teaching the art of reading helps to improve the communicative culture of future teachers if the teachers of the “Workshop on Expressive Reading” proceed from an understanding of expressiveness not only as a linguistic category, but and aesthetic, which involves influencing the mind, feelings and will of listeners in the process of communicating with them,
The author of the article follows G.V. Artobolevsky, M.M. Bakhtin, V.I. Chernyshev et al. argue that expressive reading refers to the oral form of speech, because the performer conveys his attitude to what he is reading about. This relationship determines various interpretations of reading, gives originality to its artistic interpretation. The reader plays the role of a mediator between the author and the listeners, his communication occurs with a specific purpose, therefore, for expressiveness, the brightness of visions, the participation of the will and the sincerity of experiences are necessary, using the example of the work of D.N. . Zhuravlev’s work on A. Chekhov’s story “About Love” shows the inexhaustibility of working on a literary work.
Key words: communicative culture, expressive reading, types of expressiveness, subtext, verbal action, artistic interpretation, hermeneutic circle of understanding,
Abstract. Many graduates from Pedagogical Institutes are not going to Work at school because they feel that it is difficult for them to communicate with children, The training of expressive reading can promote the improvement of com mun ica tive culture of fu ture teachers if the teachers of the work-
EXPRESSIVE READING AS A MEANS OF IMPROVING THE COMMUNICATIVE CULTURE OF TEACHERS
shop proceed from the understanding of "expressiveness" not only as a linguistic but as an aesthetic one that involves influence on mind, feeling and will of listeners in the process of communication,
The author of the article following G. V7! Artobolevsky, M.M. Bakhtin, C.I. Chernyshev and others claims that expressive reading refers to oral speech, because the artist conveys his attitude to what he is reading. This attitude leads to differen t in interpretations of the reading, gives the originality of its artistic in interpretation, The reader plays a role of the mediator between the author and audience, his communication is with a specific purpose, so the expressiveness requires brightness of vision , the will and sincerity of feelings. For example, D.N. Zhuravleva"s work on Chekhov"s story "About love" shows the inexhaustibility of efforts on literary works.
Keywords: communicative culture, expressive reading types of expression, implication, verbal actions, artistic in interpretation, hermeneutic circle of understanding.
Among the various problems of the teaching profession, one of the first places is occupied by communication difficulties, which reduce the quality of teaching work and interfere with the establishment of mutual understanding, cooperation and dialogue with children. Graduates of pedagogical universities do not have sufficient knowledge of communicative culture; they are not always ready to use communicative means of influence on schoolchildren, manage their mental state, and act in a public setting.
Communicative culture includes not only speech technique, but also the culture of the individual, the culture of thinking, and the culture of feelings. The improvement of communicative culture, in particular, occurs in the “Workshop on Expressive Reading” classes, in which students strive to master the art of artistic (expressive) reading, which consists in the creative embodiment of literary
a significant work in an effective sounding word.
What is expressiveness? These are special structures of speech that “maintain the attention and interest of listeners” (B.N. Golovin), this is “the accuracy of the verbal designation of an object or phenomenon, idea or concept” (G.Z. Apresyan). “To speak expressively means to choose figurative words that evoke the activity of the imagination, internal visions and emotional assessment of the depicted picture, event, or character.” These definitions allow us to conclude that scientists have different types of speech expressiveness. Depending on the structural areas of the language, there are pronunciation, lexical, word-formative, morphological, syntactic and intonation expressiveness. This is the linguistic aspect of expressiveness.
Spoken speech, unlike written speech, is live communication.
It is characterized by imagery, emotionality, and expressiveness. Direct communication with the audience leaves an imprint on the syntax of oral speech: the speaker often uses various types of simple sentences, especially interrogative and exclamatory sentences, widely uses connecting and insertion structures, introductory words, repetition of the same thought, gradation of evidence, etc.
The expressiveness of oral speech is enhanced by intonation, which actually shapes the speech and helps to activate its communicative function - the function of communication between people. S. Volkonsky wrote: “Voice is clothing, intonation is the soul of speech.” Intonation also exists in written speech, but speech and language cannot be reduced to each other. Not everything that is in speech is formalized in language. The specific meaning of any statement follows, according to H.H. Zhnkina, not only from the content of communication, but also from the situation of communication. Intonation conveys information not only about what is being said, but also about who is speaking, how, where and to whom. If the question “what is being communicated?” answers linguistics, then other questions remain outside the scope of linguistic interests.
The question arises what form of speech expressive reading belongs to. We are convinced that in the oral form of speech, look at the fact that the written text in reading is usually transmitted without change. You can simply read the text out loud, observing punctuation marks, but such reading will not be expressive. Expressive reading differs from spoken speech only in that it is not created in
the process of verbal improvisation, but in reading, just as in oral speech, the thought, feeling and will of the speaker are manifested in unity, therefore, voicing the text, the reader expressively not only reads the intonation that is inscribed in it, but also expresses his attitude towards what he reads about. One’s own attitude towards what one reads determines different interpretations of reading. K. S. Stanislavsky said: “The meaning of creativity is in the subtext. Without him, the word has nothing to do on stage. At the moment of creativity, the words are from the poet, the subtext is from the artist. If it were otherwise, the viewer would not ("would have crashed in that theater, but would have sat at home and read the play."
The main reading of expressive reading was put forward by V.I. Chernyshev: “Read as you speak.” We find confirmation of this idea among the authors of modern works: “The oral form of literary language implementation is used where a living, sounding word is needed: agitation and propaganda activities (conversations, lectures, rallies), scientific (reports, debates), literary and artistic ( artistic reading, stage performance)".
G.V. also pointed out the difficulty of overcoming the contradiction between oral and written forms of speech when working on a work. Artobolevsky: “The reader’s ultimate task is to convey the living, emotionally rich idea of a work embodied in artistic images through the means of oral speech. The implementation of this task connects the reader with the listeners and ensures their attention." Oral speech is richer than written speech; it differs in
variety and style features. In oral speech, the speaker not only uses intonation, but also facial expressions and gestures to express his attitude towards what he is talking about, therefore the main source of expressiveness in speech and reading is the speaker’s passion for what he is talking about (reading).
The general problem of verbal communication is the relationship between “meanings” and “meanings”. The intonation of living speech is always adequate to the meaning, not the meaning, the semantic content of the phrase, and not its grammatical form. “The word captures and embodies thought through sound, not static, but mobile, distinguished by many shades.” Consequently, the spoken word, containing certain information, also performs the function of embodying a certain meaning (subtext) due to the many internal meanings inherent in this word in various historical contexts. This is the epistemological aspect of expressiveness.
The essence of the aesthetic always manifests itself in the unity of three spheres: a work of art; the author (or process) creating the object of perception; and the subject who perceives it (reader, listener, viewer). MM. Bakhtin, who put forward the idea of two-dimensionality, two-subjectivity of humanitarian thinking, notes that linguistic analysis is most often distracted from authorship, since linguists deal with a text, not a work. The subject of linguistics is the material, the means of verbal communication, but not the verbal communication itself, in the process of which semantic dialogical relationships are transmitted. “The word is bottomless. A unit of speech utterance is not reproducible... any system of signs can
be deciphered... but the text can never be fully translated. Every text has a second subject who, reproducing someone else’s text, creates his own, framing (evaluating, commenting, objecting) text. Consequently, expressiveness is also an aesthetic category, according to which the aesthetic always presupposes the presence of another consciousness towards which the expression of the reader (listener) is directed.
Communication always occurs with a specific purpose - I want to convey a swap of thoughts and feelings; I want my listeners to sympathize with me; I want to excite them, make them laugh, scare them, etc. Therefore, for expressiveness the participation of the will is absolutely necessary. Effectiveness lies in the very nature of speech. The speaker, as it were, performs a speech act, a “verbal action.” “Nature has arranged it in such a way that when we communicate verbally with other people, we first see with our inner gaze what is being discussed, and then we talk about what we saw. If we listen to others, then first we perceive with our ears what they tell us, and then we see with our eyes what we hear.”
Work on expressive reading is based on the sincerity of experiences. To speak “with feeling,” the reader must strive for verbal action. Often schoolchildren, and even students, pronounce words mechanically. But it is necessary that the speaker (reader) communicate meaningfully and purposefully with the listeners. To do this, he must know well what exactly (topic) and for what purpose (idea) he wants to convey the text to listeners. Setting a specific
tasks and allows you to increase the effectiveness of speech and reading. K. S. Stanislavsky noted: “Speaking means acting. This activity is given to us by the task: to introduce swap visions into others. It doesn't matter whether someone else sees it or not. Mother Nature and Father the subconscious will take care of this.”
The art of artistic reading is an independent art form. It is defined as “a secondary, relatively independent artistic activity, the creative side of which is manifested in the form of artistic interpretation.” At the same time, artistic interpretation is understood as “the interpretation of the product of primary artistic activity in the creative process of performance” [ibid.]. Indeed, the art of music cannot do without a composer, and the composer needs instrumentalists and singers. The same is true of the playwright and the actor. Due to the fact that the art of reading acquired its independence as a result of a long process of transformation of oral folk art into written literature, the author's style of many works sometimes simply cannot be expressed by any other art other than the art of reading. For example, a description of the Gogol steppe.
Literary reading is a synthetic art, it lies at the intersection of literature and performing arts. However, in each of these arts, the embodiment of the work is carried out by different expressive means. In the theater, a play is performed by a group of actors; in the art of reading, the performer is one person.
catcher In the theater, each actor plays one role, and the reader embodies the entire system of images. The actor transforms into the image of the character, the reader does not transform into the images of the heroes, he only talks about how they live and act, what they say, think and feel. Revealing his attitude to what is happening, the reader tells as if he himself was a witness to the events. The actor has two means of expression: verbal and physical action, the reader has one, verbal, but it is more complex than that of the actor. The actor communicates with partners, and the reader with listeners. In addition, the actor lives on stage in the present tense, and the reader lives in the past: he always knows how the story will end, and this helps him interest the audience.
Why, then, do the main provisions of Stanislavsky’s “system” determine all work on the expressiveness of reading? The fact is that if the actor plays different roles, then the reader also plays, but always the same role - the role of the narrator, while relying on the art of experience, theoretically substantiated by Stanislavsky. The problem of the image of the narrator is a cardinal problem of the art of reading. “The performer of a literary work, while maintaining his external appearance, cannot always remain “himself. Depending on the style of the work, the era, the author’s intentions, something must be reincarnated in him, in his inner nature.”
The process of transformation is something common that brings reading art closer to acting. In order to create the image of the narrator, the reader must become, in the words of A.Ya. Zakushnyak, “as if by the second author, go through
the path that the author followed, but only in reverse. If a writer sometimes painfully searches for a word that would help him paint the picture that has arisen in his imagination as accurately and vividly as possible, then the reader, on the contrary, must revive this picture, voice the author’s text, translate it from written speech into oral speech, using all the means of intonation expressiveness.
The reader plays the role of an intermediary between the author and the audience. Striving to convey as fully and accurately as possible the intonation given by the author, he at the same time does it in his own way. Moreover, if it were possible to establish once and for all the model of intonation of a particular author, his work would cease to interest us. But art is invariant by its nature, and the work continues to live independently of its creator, and each generation sometimes finds in it something that would surprise its creator himself.
The live reaction of listeners to the reading also provides an invaluable service to the reader: either inspires him, rewarding him for his work, or puzzles him, rejecting a failed or erroneous interpretation of the work and thereby suggesting to him the direction of subsequent “revision.” Taking into account the characteristics of a particular audience, the reader clarifies his performing task, sometimes radically changing it. Indicative in this regard is the work of D.N. Zhuravlev on the story of A.P. Chekhov "About Love". For many years the reader performed one of the episodes as a light, social conversation between a beautiful and happy woman and a former acquaintance:
“Six months have passed since they first met...
“You’ve lost weight,” she said. “Are you sick?”
Yes, I have a cold in my shoulder, and in rainy weather I sleep poorly.
You look lethargic... For some reason, often during the summer you came to my mind, and today, when I was getting ready for the theater, it seemed to me that I would see you...”
After many concerts, Zhuravlev realized that he had seen his heroes incorrectly and therefore did not understand the meaning of their conversation. “No, they don’t stand or walk, and she’s not indifferent. They sit next to each other, turning to each other, unable to take their eyes off. She understands what a difficult time he went through, and it hurts her - she wants to help, support him, make him feel younger, happier, stronger again. II Alekhine suddenly realizes that Anna Alekseevna is the only person who cares about his life.”
This example demonstrates the inexhaustibility of the reader’s work on a work and the important role expressive reading plays in comprehending its depth. To show the impact on listeners, the reader must, while working on the work, go through the hermeneutical circle of understanding the text, unravel the “riddles” scattered in it by the author. To understand the true meaning of a work, the reader needs linguistic and background knowledge, the ability to penetrate its context and subtext.
The teacher’s expressive reading is the key to students’ understanding of the content of the work and a role model.
It is designed to compensate for the imperfect reading of students, their insufficient experience in the ability to obtain information from the text. Professional reading by a teacher gives schoolchildren the opportunity to empathize with the characters of the work and discuss what they are reading. Removing the need for explanation, reading is an assessment and commentary of the text, conveying the flavor of a literary work. You can learn about exactly how students are trained in expressive reading from our monograph “Fundamentals of the Methods of Expressive Reading and Storytelling” (M., 2014).
LIST OF SOURCES AND REFERENCES
1. Golovin, B.N. Fundamentals of speech culture [Text] / B.N. Golovin. - M., 1980.
3. Gorbushina, L.A. Expressive reading [Text] / L.A. Gorbushina, A.P. Nikolai-cheva. - M., 1978.
4. Volkonsky, S. Expressive word [Text] / S. Volkonsky - St. Petersburg, 1912.
1Pr 5. Zhinkin, N.I. Development of written speech of lob students [Text] / N.I. Zhinkin. - M., 1966.
6. Stanislavsky, K.S. Collection op.: in 8 volumes [Text] / K.S. Stanislavsky. - T. 3. - M., 1955.
7. Chernyshev, V.I. The ABC of expressive reading [Text] / V.I. Chernyshev. - St. Petersburg, 1910.
8. Leontyev, A.A. Psychology of speech communication [Text] / A.A. Leontyev. - Tartu, 1984.
9. Artobolevsky, G.V. Artistic reading [Text] / G.V. Artobolevsky. - M., 1978.
10. Bakhtin, M.M. Aesthetics of verbal creativity [Text] / M.M. Bakhtin. - M., 1979.
11. Gurenko, E.G. Performing arts [Text] / E.G. Gurenko. - Novosibirsk, 1985.
12. Smolensky, Ya.M. Reader. Reader. Actor. [Text] / Ya.M. Smolensky. - M., 1983.
13. Zakushnyak, A.Ya. Story evenings [Text] / A.Ya. Snack. - M., 1984.
14. Petrova, A.N. Stage speech [Text] / A.N. Petrova. - M., 1981.
1. Golovin B.N., Osnovy kul "tury rechi, Moscow, 1980.
3. Gorbushina L.A. Nikolaicheva A.P., Vyrazitel "noe chtenie, Moscow, 1978.
4. Volkonskij S., Vyrazitel "noe slovo, Sankt-Petersburg, 1912.
5. Zhinkin N.I., Razvitie pis "mennoj rechi uchashhihsja, Moscow, 1966.
6. Stanislavskij K.S., Sobr. soch. v 8 t., T. 3, Moscow, 1955.
7. Chernyshev V.I., Azbuka vyrazitel "nogo chtenija, Sankt-Petersburg, 1910.
8. Leont "ev A.A., Psihologija rechevogo obsh-henija, Tartu, 1984.
9. Artobolevskij G.V., Hudozhestvennoe chtenie, Moscow, 1978.
10. Bahtin M.M., Jestetika slovesnogo tvorchest-va, Moscow, 1979.
11. Gurenko E.G., Ispolnitel "skoe iskusstvo, Novosibirsk, 1985.
12. Smolensky Ja.M., Chitatel". Chtec, Akter, Moscow, 1983.
13. Zakushnjak A.Ja., Vechera rasskaza, Moscow, 1984.
14. Petrova A.N., Scenicheskaja rech", Moscow, 1981.
Shelestova Zinaida Alekseevna, Candidate of Pedagogical Sciences, Associate Professor, Department of Speech Therapy, Moscow Pedagogical State University, [email protected] Shelestova Zinaida A., PhD in Pedagogy, Associate Professor, Speech Therapy Department, Moscow State Pedagogical University, [email protected]
Municipal budgetary educational institution
Kazanovskaya secondary school
Expressive reading in literature lessons in grades 5-7
Teacher of Russian language and literature
IIqualification category
Voronina Anna Sergeevna
Kimovsk, 2013
Archive of material
Maintaining
Reading, a book, is a powerful means of education, upbringing and development: mental, linguistic, speech, moral, cultural, aesthetic, informational, more broadly speaking, intellectual and sensory, a means of developing all abilities.
Hence, one of the primary concerns of the teacher is to develop in schoolchildren a full-fledged emotional perception of fiction. This is facilitated by various types of active creative activity of students in the classroom, and primarily by expressive reading.
The process of preparing expressive reading creates an atmosphere of creative engagement with art in the classroom, helps schoolchildren to comprehend the ideological and artistic essence of the work being studied with the greatest completeness and emotionality, develops the skills of a creative approach to the analysis of an artistic text and its embodiment in the spoken word, plays an important role in development of oral speech.
Some teachers, and behind them students, consider expressive reading to be an easy task, so easy that there is no need to help students, teach them, they can handle it themselves, but there is another opinion: only the talented can read expressively, everyone else, no matter how you teach them, will At best, when reading, observe punctuation marks.
We cannot agree with either opinion. Creative activity, and expressive reading is one of the types of creative activity in the field of art, is accessible and necessary for all children, adolescents and young men. Like any creative activity, it can be more or less vibrant. But in all cases, it must be directed by the teacher, and the skills that are necessary for fruitful creative activity must be nurtured and developed in the process of special classes.
Many famous teachers attached more importance to expressive reading as a means of moral and aesthetic education: K.D. Ushinsky, A.S. Makarenko, M.A. Rybnikova, L.A. Gorbushina. Issues of expressive reading were covered by methodologists of the past and present T.A. Zadorozhnaya, N.A. Zaitseva and others.
M.R. Lvov, L.A. Gorbushina, N.N. Svetlovskaya, A.A. Bonadrenko, O.V. Kubasova, E.I. Matveeva note that the development of intonation expressiveness in reading has been underestimated by teachers for some time.
Based on the above, it can be argued that the topic of this study is relevant, since little attention is currently given to this topic, but it is important for the development of children. Expressive reading of works contributes to an accurate understanding of the writer’s intent and the feelings embedded in the work.
Theoretical basis of the study. Many famous teachers attached great importance to expressive reading as a means of moral and aesthetic education: K.D. Ushinsky, A.S. Makarenko, M.A. Rybnikova, L.A. Gorbushina. Issues of expressive reading were covered by methodologists of the past and present T.A. Zadorozhnaya, N.A. Zaitseva, M.R. Lvov, L.A. Gorbushina, N.N. Svetlovskaya, A.A. Bonadrenko, O.V. Kubasova, E.I. Matveeva and others.
Theoretical and methodological foundations of teaching teenagers expressive reading
Concept of expressive reading
The ability to read does not come naturally. It must be developed skillfully and consistently. The most accessible form of perception of a work of art for children is listening to expressive reading.
Scientist-teacher M.A. Rybnikova believed that “expressive reading is... the first and main form of concrete, visual teaching of literature...”.
Expressive reading is an opportunity to penetrate into the very essence of a work, to learn to understand the inner world of the characters. It deepens children's understanding of the expressive means of oral speech, its beauty and musicality, and serves as a model for students.
The main principle of expressive reading is penetration into the ideological and artistic meaning of what is read.
Expressive reading is one of the aspects of reading skill. Reading that correctly conveys the ideological content of the work and its images. Signs of expressive reading:
the ability to observe pauses and logical stresses that convey the author’s intent;
the ability to observe the intonation of a question, statement, and also give the voice the necessary emotional tones;
good diction, clear, distinct pronunciation of sounds, sufficient volume, tempo.
Expressiveness is an important reading requirement for middle school students. We call expressive reading such a loud reading, during which the reader with sufficient clarity expresses the thoughts and feelings put into the work by the author. To read the text expressively means:
reveal the characteristic features of the images, paintings depicted in it;
convey the basic emotional tone inherent in the work.
The teacher's expressive reading has a great influence on students. The more expressively the teacher read, the deeper and more lasting the impression left in the minds of the young listeners, and the more conscious the further work on analyzing what they read. The teacher’s reading gives children aesthetic joy, revealing the nobility of the hero’s moral character, causing deep emotional experiences - “exercises in moral feeling,” as K.D. Ushinsky called them. Observing the teacher’s exemplary reading, students themselves, when reading, strive to reveal their attitude to what they read using all the means available to them.
The main condition for ensuring expressive reading is students’ conscious perception of the text. Natural, correct expressiveness can be achieved only on the basis of thoughtful reading and a fairly deep analysis of the images of the work. This does not mean that before the general conversation, attention is not paid to this side of reading.
On the contrary, in the process of repeated loud reading, every opportunity is used for gradual preparation for expressive reading: it is proposed to correctly read passages or episodes that the children have already comprehended; We draw their attention to individual visual means, look for a logically and emotionally important word in them, demand compliance with intonation corresponding to punctuation marks - in a word, throughout the lesson the teacher helps students master the necessary means of expressiveness.
The same requirements cannot be made for the reading of a teacher and a schoolchild as for the artistic reading of an artist who, in addition to a specially trained voice, also has other means of expressiveness, and who has the possibility of long-term organized preparation for reading.
For school expressive reading, it is necessary to fulfill the following requirements proposed by L.A. Gorbushina:
Compliance with punctuation marks.
Children, even while learning to read, are accustomed to naturally lowering their voices at full stops and to conveying interrogative or exclamatory intonation with appropriate signs at the end of a sentence. In this case, an important factor is to develop in them the skill of associating a certain sign of intonation with the content of a sentence. It is not enough just to indicate that this or that sign is at the end of the sentence: the student must realize the need to express joy, surprise or fear, depending on the thought of the sentence.
Gradually, students learn typical intonations for other punctuation marks: a comma with homogeneous predicates, a dash in a non-union sentence, a colon before an enumeration, and so on. In elementary school, students learn which punctuation marks do not require pauses or changes in tone. Thus, there is no stop before the address at the end of the sentence, there is no pause or single introductory words and single gerunds. All this knowledge, acquired by students during their studies in primary school, is the necessary basis for teaching expressive reading in grades 5-7.
2. Logical and psychological pauses.
They do not depend on punctuation marks, but are determined by the meaning of individual words and parts of a sentence. Logical pauses are made to highlight the most important word in a sentence, before or after the word. A pause after a word draws the listener's attention to that word. Using a pause also enhances the meaning of common parts of a sentence, helping to grasp the meaning of the entire phrase.
A psychological pause is needed to move from one part of a work to another, which differs sharply in emotional content. Pauses are very appropriate before the end of a fable, in the climax of a fairy tale or story, and it is also important to remember the nature of small pauses at the end of poetic lines, which are made regardless of punctuation marks and the meaning of the words of the next line. These pauses emphasize the rhythmic pattern of the verse. Compliance with them does not allow a lowering of the voice at the end of the line, which results in a deep “chopped” reading. The intonation in the poem is distributed according to the sentence, and not along the line, and pauses between verses should not distort it.
3. Emphasis.
In a sentence or in a complex phrase, one of the words is emphasized by greater force of exhalation, and sometimes by a change in the tone of voice. This is usually the most important word in meaning. Therefore, this selection of a word from a sentence is called logical stress. It is wrong to assume that stress is always expressed by relatively greater volume and higher pitch. Often, stress is achieved, on the contrary, by lowering the voice, and increased exhalation manifests itself in the slow pronunciation of the word.
The expressiveness of reading is greatly enhanced by the successful choice of words that are important in a logical sense and the correct exhalation when pronouncing them. A sharp intensification of a word, acceleration, or absence of a pause during it is unacceptable - this leads to shouting and the euphony of speech is disturbed. It is recommended to emphasize nouns, listed homogeneous members, and repeated words. If a verb comes at the end of a sentence, it is usually stressed. The emphasis is often on the qualitative adverb that comes before the verb. When comparing actions or qualities, both words being compared carry a logical emphasis.
A single adjective, like a pronoun, is usually not emphasized. It is sometimes covered by voice enhancement, which is done for a noun. If an adjective comes after a noun, it most often carries the main meaning of the sentence and is emphasized by pauses and increased voice. Vivid, expressive means (metaphors, comparisons, sound repetitions) are shaded for aesthetic purposes in order to emphasize the beauty or emotional content of the artistic image.
4. Pace and rhythm of reading.
Reading pace (the degree to which a text is pronounced quickly) also affects expressiveness. The general requirement for the tempo of expressive reading is that it corresponds to the tempo of oral speech: too fast, as well as too slow, with excessive pauses, is difficult to perceive. However, depending on the picture painted in the text, the pace changes, speeding up or slowing down according to the content.
Changing the pace is a good technique for characterizing speech when reading dialogue.
Correct rhythm is especially important when reading poetry. The uniformity of the respiratory cycles also determines the rhythmic reading. Typically, the nature of the rhythmic pattern (clarity, speed or melodiousness, smoothness) depends on the size in which the poem is written, on the alternation of stressed and unstressed syllables in it. But when choosing a rhythm in each individual case, we must teach children to go first of all from the content of the work, determining what is said in it, what picture is drawn.
5. Intonation.
The definition of intonation was given by O.V. Kubasova, which in this broad concept includes the use of all means of expressiveness: stress, pauses, tempo and rhythm, which are combined into an inseparable totality using the emotional meaning of the word coloring, determined by the content of the text or sentence. This coloring most often conveys the author’s attitude towards the facts described: approval, contempt and other emotions and assessments. This coloring is most clearly manifested in the melody of speech, that is, in the lowering and raising of the voice. Also, changes in voice pitch are called intonation (a narrower meaning). Intonation decreases at the end of a narrative sentence, rises at the semantic center of the question, rises up and then sharply falls at the place of the dash sign, evenly rises when listing definitions or predicates standing in front of nouns, and also evenly decreases when their relationship is reversed. But, in addition to these syntactic conditioned changes in pitch, semantic and psychological intonation, determined by the content and our attitude towards it, plays a huge role in determining the expression of thoughts and feelings.
The question of the basic coloring of the tone is usually posed to children after a full or partial analysis of the content, based on the children’s mastery of the images and thoughts of the work. At the same time, a prescriptive definition of tone is unacceptable: it is necessary, they say, to read sadly or cheerfully. Only then will expressiveness be sincere, lively and rich when we are able to awaken in the student the desire to convey to the listeners his understanding of what he has read. This is possible under the condition of a deep perception of the content based on analysis, after which a question is posed that stimulates the reader to express what he has perceived.
After preparing to read, students acquire a lively, natural coloring, intonation becomes meaningful and psychologically justified.
Expressive speech is oral spoken speech that corresponds to the content of the statement or the text being read. But still, the main means of expressiveness of spoken speech is intonation. When reading a work of art, intonation arises after comprehension of the text, understanding of the author’s intentions and intentions, and a conscious attitude towards the characters, their actions and events. Intonation does not express the essence of the phrase; it is the result of the reader’s deep penetration into the text. Therefore, it is necessary to teach children the correct intonation.
When entering school, children already speak their native language, have a certain vocabulary, use them in conversation, in combinations that are understandable to others, know how to answer questions, and so on. Along with the acquisition of language, children acquire the intonations that are common in everyday life, although all these elements are not yet identified by them and are not realized, since they are learned by imitation, by imitation.
When learning to read and write (writing and reading), and then when mastering phonetics and grammar, all elements of the structure of the language are gradually realized, including intonation as a way of realizing language in spoken speech. It is at this sound level that speech intelligibility and expressiveness are achieved.
Expressive reading in the middle classes is considered as the art of literary reading in a school setting, as one of the ways to improve the culture of oral speech and visual teaching of literature, since it leads to a deepening of the figurative analysis of a work of art and reveals the skill of the writer. The current curriculum for middle and high schools requires that students practice expressive reading on each coherent text, so that not a single text in the lesson is read monotonously, inexpressively. This obliges teachers of schoolchildren to undertake the upcoming work on expressive reading and thereby ensure continuity in teaching children in subsequent grades.
When working on the expressiveness of speech, much attention should be paid to the means of speech expressiveness.
Age-related characteristics of younger adolescents’ perception of literary works and learning to read them expressively
Age-related characteristics of the perception of literary works are another important aspect of teaching students expressive reading. It is known that at different stages of his age development, a student, due to psychological characteristics, is differently able to perceive a literary work. Researchers identify different stages of human mental development. We are interested in early adolescence (10-12 years).
This is the so-called period of “naive realism”. A 10-12 year old student tends to perceive a literary work as an other being of life, that is, naively realistic. Therefore, he tries to correct the writer or the character of the literary hero. Taking into account this age-related peculiarity of perception, it is necessary to use teaching techniques that would help students perceive literary works as phenomena of art.
Another feature of the perception of younger adolescents is its fragmentation. Students usually stop at one or two actions of the heroes that made the strongest impression on them, but as a rule they do not rise to the level of understanding the personal qualities of the hero. They do not show the same interest in all the characters’ experiences. They pass by the description of the struggle of feelings, the hero’s self-esteem, pay little attention to how the heroes’ experiences are manifested in gestures and speech, and do not notice artistic details. In their assessment of heroes, they are always straightforward and merciless. They generally reject complex and contradictory characters. A teenager does not like halftones; he needs to decide everything definitely and immediately - hence the categorical attitude.
In early adolescence, a noticeable development of strong-willed personality traits occurs. It is the development of strong-willed qualities, the desire to act, to influence others that creates favorable conditions for the development of the ability to act with words in the process of communicating with listeners.
The curriculum for grades 5-7 also promotes learning to read expressively. It presents works of various genres, mainly corresponding to the age needs and capabilities of schoolchildren. Speech development tasks that are of paramount importance in the middle grades include expressive reading as one of the types of oral speech among schoolchildren.
Not only the program, but also the methodology of teaching literature in the middle classes creates favorable conditions for conducting a course of expressive reading in literature lessons. In grades 5-7, the analysis of a literary work is carried out mainly “following the author.” For students in these classes, the main thing when perceiving a literary work is the plot, real events, episodes, and, given the nature of their perception, it is most appropriate to conduct an analysis as the action develops.
Not considering this method of analysis to be the only possible one in grades 5-7, it must still be recognized that it is used extremely widely in middle grades. And it is this path that is most convenient for teaching expressive reading.
In the method of expressive reading, one of the most important principles of didactics must be fully implemented - the principle of gradual accumulation of knowledge and skills. Theoretical information from the field of art, relevant skills and abilities are acquired by students gradually. From lesson to lesson, new tasks are set before them.
Beginning in 5th grade, students are introduced to expressive reading as an art. Children consolidate previously acquired practical skills and develop new ones, for example: the ability to identify genre features of a work (fairy tale, riddle, proverb - in 5th grade, epic and fable - in 6th grade, etc.). In the 5th grade, when reading the fairy tale “The Frog Princess,” students develop the skill of storytelling about sequential events and at the same time develop the ability to give the story a fairy-tale character. When reading proverbs, one develops the ability to express one’s attitude towards the person or phenomenon to which the proverb refers, and to convey the subtext of the proverb as a complex generalization.
In the 6th grade, when reading epics, students convey the special character of their sound. Get acquainted with the features of reading fables.
In the 7th grade, the task arises of translating into reading works that are more complex in content and form. For example, to express the increasing intensity of feelings in A. S. Pushkin’s poem “The Prisoner” (“Where the mountain turns white behind the cloud, Where the sea edges turn blue, Where only the wind and I walk”).
Above, only part of the tasks solved when teaching expressive reading was mentioned. But in each individual case, the teacher must be able to select elements of speech expressiveness that most clearly characterize one of the most important aspects of the work and at the same time are understandable to students of a given age.
Conditions for organizing work on expressive reading
To effectively work on the expressiveness of students' reading, the teacher should know the conditions for working on the expressiveness of reading. These include the following, outlined by M.R. Lvov
1. Work on expressive reading should be preceded by a thorough analysis of a work of art. Consequently, exercises in expressive reading should be carried out at the final stages of the lesson, when work on the form and content of the work has been completed. However, one should not think that working on reading expressiveness consists only of using training exercises. Teaching expressive reading is a complex process that permeates all stages of the lesson, as it is organically determined by preparation for the perception of the work, and initial acquaintance with the work, and work on the idea of the work.
2. An example of expressive reading of the work must be demonstrated. This can be either an exemplary reading by a teacher or a reading by a master of the literary word in a recording. If a sample is demonstrated during the initial acquaintance with the work, it is better to resort to reading by a teacher. If exemplary reading is used at the stage of exercises in expressive reading, then technical means can be used to reproduce the reading by a master.
Demonstrating a sample of expressive reading has more than one goal: firstly, such reading becomes a kind of standard to which a beginning reader should strive; secondly, exemplary reading reveals to listeners an understanding of the meaning of the work and, thus, helps its conscious reading; thirdly, it serves as the basis for “imitative expressiveness” and can play a positive role even if the depth of the work is incomprehensible to the reader: by imitating intonation that expresses certain feelings, the child begins to experience these feelings and through emotional experiences comes to understand the work.
3. Working on the language of a work is also one of the conditions for developing expressive reading. It is impossible to get students to read expressively if the form of the work is not understood, so observation of expressive and visual means becomes an organic part of the work to understand the ideological orientation of the work.
4. Work on the expressiveness of reading should be based on the reconstructive imagination of schoolchildren, that is, on their ability to imagine a picture of life according to the author’s verbal description, to see with their inner gaze what the author depicted. The recreating imagination of an inexperienced reader needs to be trained, taught to create an episode, a landscape, a portrait in front of the mind’s eye using “author’s signs.” Techniques that develop the reconstructive imagination are graphic and verbal illustrations, compiling filmstrips, writing film scripts, as well as role-playing and dramatization. Thus, we can name another factor influencing the expressiveness of reading - the combination of such work with a variety of activities in a literature lesson.
5. A prerequisite for working on expressive reading is also a discussion in the class of options for reading the analyzed work. It is advisable that at the end of the lesson, two or three students read the work (or part of it) aloud, and the students in the class discuss the successes and failures in their reading. It must be remembered that the tone of such training should be businesslike and friendly.
From the above it follows that the main goal of teaching children expressive reading is to develop the ability to determine the task of reading aloud: to convey to listeners their understanding of the work using correctly chosen means of oral speech. However, such a complex skill arises as a result of the teacher’s painstaking work on developing, firstly, skills that help to penetrate the meaning of the work, and secondly, the ability to use one’s voice expediently.
Methods and techniques for working on expressive reading
Work on expressive reading at school does not require special hours; it is combined with various types of work in Russian language lessons and, especially, in literature lessons. At the same time, methods of working on expressive reading acquire special importance.
The degree of influence of a work of art on the mind, will and feelings of students largely depends on the skillful figurative and emotional reading of the teacher. The teacher is required to work in a way that would develop in children the need and ability to independently implement the knowledge and skills they have acquired. If a teacher does not teach his students figurative and emotional reading of works of art, then most of his efforts will be in vain. As E.V. said Yazovitsky, “you can endlessly listen and analyze the poetic works of Pushkin, Lermontov, Nekrasov..., but if you don’t read them out loud (even if not very perfectly), then much of what is usually called the aesthetic essence of the work will remain for students for life incomprehensible and unfelt."
The methods used by students to work on an original text are almost no different from the methods used by the teacher. This is how E.V. describes this work. Yazovitsky: “Having received the task, students must, first of all, read a poem, story or passage several times, find out the author’s main idea, determine the main purpose of reading and the cross-cutting action aimed at its implementation, must draw in their imagination the circumstances proposed by the author and try to revive them through their own visions and associations."
With the help of various pedagogical and methodological means, the teacher facilitates the active acquisition of language: he selects educational material that is feasible for a given age, uses various teaching methods and techniques, and organizes lessons in the system. When choosing methods and techniques, the content of the program, the specifics of the concepts and ideas that need to be formed during training are taken into account.
In classLiterature uses expressive reading of three types: expressive reading of the teacher, expressive reading of students and reading of the author and masters of the spoken word in recording. There are some other techniques for teaching expressive reading that are not so widely used; they will be discussed later.
Teacher's expressive reading (demonstration)
Teacher reading is crucial. A teacher who does not himself master this art cannot teach art. This is also true of the art of reading.
As experience shows, when organizing the primary perception of the text, students better perceive the teacher’s performance, even if imperfect.
A complete, thorough analysis of the sample is not carried out every time, but only when working on expressive reading is the main goal of the lesson. For example, when working on A.S. Pushkin’s poem “Winter Morning” in the 6th grade, the teacher reads for the first time slowly, thoughtfully, narrating; the second time - cheerfully, cheerfully, emphasizing the brightness of the paintings. Then the teacher asks: when was the reading better - the first or second time? Why? What kind of winter is it like in Pushkin? How did you manage to convey the mood?
Of course, the method of display encourages imitation; if this is imitation of the good, it is only beneficial. There is no need to be afraid of such imitation. One should warn and protect against blind, tactless, external imitation. The display method comes in different forms. B.A. Buyalsky highlighted the following.
Teacher's exemplary reading.
Repeated recitation by the teacher of individual parts in the learning process.
Listening to a recording with an exemplary performance by the artist.
Demonstrative readings of the best students.
Based on the above, we came to the conclusion that when resorting to demonstration, the teacher never seeks to impose models. The goal of a teacher’s exemplary performance is not to effectively demonstrate one’s skills, but to infect and ignite children with the feelings and experiences with which the work is saturated, and to arouse in them the desire to read it well.
It is advisable to combine the demonstration method with the method of score notes in cases where they may be useful in recreating the desired tone.
To denote various phenomena in oral speech, there are generally accepted text marking signs that help to record the found intonations, take notes, separate parts of the story, highlight the main thing in the text, etc. The marking of the text is conventionally called the “notes” of expressive reading or the score.
K.S. Stanislavsky advised: “Take a book and a pencil more often, read and mark what you read by speech beats... Marking speech beats and reading by them are necessary because they force you to analyze phrases and delve into their essence.
When working with children, you need to gradually complicate the tasks for composing the score. The following procedure may work:
children read following the score compiled by the teacher;
students compose the score together with the teacher;
Children independently mark up the text for expressive reading.
Of course, you cannot enter all the score signs at once at once. Their choice depends on the nature of the work and the typical mistakes that children make when reading it, and also on the level of preparedness of students to carry out such work.
Based on their placement in the text, characters are classified into lowercase, superscript and subscript. L. Gorbushina offers the following most commonly used score signs.
1. Stress in a word (in difficult cases) is indicated by the sign / above the letter.
2. Phrase stress - the stressed word is emphasized with a dotted line; logical - with one line; psychological - [P] before a word or sentence.
3. Pauses: short - with a vertical dotted line (¦), medium - with one vertical line (│), long - with two vertical lines (││).
4. Continuous utterance is indicated by an arc ∩ above the words.
5. Melodics: rise (raising the voice) - an upward arrow above the stressed vowel of the word ( ); lowering the voice – ( ); monotone - a continuous horizontal line above the words.
6. Notes about the pace and color of reading are written in the margins on the right with the words fast, slow, accelerating, etc.
In addition to these signs, B.A. Buyalsky also identified others used in marking poetic and prose works.
By marking difficult parts of the text with score signs with students, the teacher achieves a reduction in the number of logical errors in children’s reading.
Students' expressive reading
Choral reading
One of the most common methods of teaching expressive reading is the method of choral reading by students as one of the varieties of expressive reading by students.
Choral reading has been part of school practice for a long time. K.D. Ushinsky also recommended it as a technique to help revive a tired and distracted class. Choral reading does not allow any student to remain passive.
Sometimes choral reading is confused with collective recitation. But these are not identical concepts. Unlike choral recitation, which sounds in unison, collective recitation involves the performance of different parts of the text by different performers and groups of performers. Choral reading has its advantages and disadvantages. According to B.A. Buyalsky, the disadvantages of choral reading are that “it smacks of “training from the voice” and not always justified monotony. To avoid this, B.S. is advised. Naydenov, T.F. Zavadskaya, “it is necessary to observe the correctness and expressiveness of choral reading.” According to these methodologists, “there should be no inexpressive choral reading in school. Expressive choral reading will have a significant positive impact on the expressiveness of individual reading and the speech culture of students.”
M.A. Rybnikova highly valued this technique. “Get an individual student to read a poem—before the polyphonic reading and after the polyphonic reading. The second performance, influenced by the sound of the text in the classroom, will also become more expressive for the individual student.”
It is worth noting one more of the shortcomings of choral reading, which T.F. highlights. Zavadskaya, - choral reading deprives the reader of individuality, subordinating it to the general choral sound, forcing him to imitate.
B.A. Buyalsky, on the contrary, sees in this some advantage of choral reading: “Schoolchildren are known to admit that they feel how to read, but do not know how to read properly. Modest, shy students especially find it difficult to read “in front of everyone.” But in the choir they feel freer and read more confidently... the choir infects with a general uplift, a general mood, the tone that the teacher sets with his demonstration.”
As you can see, the opinions of methodologists are quite contradictory, but still most of them are inclined to favor the benefits of this technique.
How should you organize work using choral reading in the lesson? B.A. Buyalsky suggests organizing it in the following order:
Model reading of a passage by a teacher.
Reading performance of a student of average ability.
Marking (if necessary) the most difficult parts and texts with score signs.
Repeated reading of marked bars and links.
Repeated reading of the entire passage by one of these students, the reading of which (in the teacher’s opinion) will not require additional clarification or rework.
Repeated reading by the teacher, especially necessary if the student’s reading was unsuccessful.
A reminder from the teacher before the choral reading that one should not shout out so as not to disturb others.
During the lesson you can practice reading “small choirs”, consisting of 5-8 best students. In order for participation in collective reading to bring the greatest benefit, it must be completely conscious for each student. Each choir member must understand what he is expressing and how he achieves it. Therefore, the choral reading should be preceded by a detailed analysis of the work..