Reader's diary Mikhalkov "Doze and Yawn"

A beautiful children's work, like many works, is rooted in the folk epic about magical creatures that bring children dreams, and generally put them to sleep. The work "Slumber and Yawn" is often attributed to Samuel Marshak, but this is not true.

The main characters of the poem magical creatures: Doze and Yawn - the main occupation of which is to put children to sleep. Those children who go to bed on time, the heroines wish pleasant dreams... For those children who do not want to go to bed, they send yawns, which they force the baby to go to bed too.

main idea works: children should go to bed on time.

Doze and Yawn wandered along the road.

Doze ran through the gates and gates,

Looked through the windows

And into the slits of the doors

And she said to the children:

Go to bed soon!

A yawn said: who will go to bed sooner,

To that she, Yawn, will say good night,

And if someone does not lie down

Now on the bed

That she will command

Yawn, yawn, yawn!

"About mimosa" Mikhalkov

"About mimosa" Mikhalkov analysis and summary

The protagonist of the poems is the little boy Vitya, surrounded by unnecessary care(overprotective) on the part of the parents. From such an appeal, the boy's character deteriorates and he begins to demand from others special attention, at the same time, he loses interest in everything that normal children should strive for. At the end, the author compares Vitya with a plant - mimosa.

"About mimosa" Mikhalkov read

This is who is covered in bed
Blankets on cotton wool?
Who lies on three pillows
In front of the food table
And, dressing barely,
Without making your bed
Gently washes her cheeks
Boiled water?

That's right, the decrepit grandfather
One hundred and fourteen years old?
No.

Who, filling his mouth with cake,
He says: - And where is the compote?
Give something
Submit it,
Do the opposite!

That's right, disabled
Is talking?
No.

Who is this?
Why
They drag boots to him,
Fur mittens,
So that he can warm his hands,
So that he could not catch a cold
And die of the flu
If the sun shines from the sky
If there was no snow for half a year?

Maybe he's going to the pole,
Where do bears live in the ice?
No.

Take a good look -
It's just a boy Vitya,
Mamin Vitya,
Daddy Vitya
From apartment six.

It is he who lies in bed
With blankets on cotton wool
Except buns and cakes
Doesn't want to eat anything.

Why?
Therefore,
That only he will open his eyes -
They put a thermometer on him,
Shoes,
Dress
And always, at any hour,
Whatever he asks for, they carry it.

If the dream is sweet in the morning -
He's in bed all day.
If the sky is in the clouds -
He's in galoshes all day.

Why?
Therefore,
That everything is forgiven to him
And he lives in a new house,
Not ready for anything.

Not to become a pilot
Be a brave sailor
To lie behind a machine gun
Drive a truck.

He grows afraid of frost
Dad and mom are in sight,
Like a mimosa plant
In the botanical garden.

Calligraphy Mikhalkov for the reader's diary (briefly)

The hero of the work is just learning to write. V poetic form it tells how difficult it is for the little boy in this matter. He has to tear out the page more than once, first because the pen pierced the notebook, then because of an error, then because of a blot. These details allow us to understand that the poem was written a very long time ago, back in the days when children wrote with metal pens and ink. But the hero of the work does not give up, even to the seductive sounds coming from the street. After all, he understands that: "It is not easy to become a scientist!"

Calligraphy Mikhalkov read the text

Writing beautifully is not easy:
"Yes, it is ko-ro-va mo-lo-ko."
Behind the letter is a letter,
to the syllable syllable.
Well, at least someone would help!

First yes, then yes.
Already written "gives"
Already written "gives"
But then the pen tears the paper.

The notebook is ruined again -
The page must be torn out!
The page was torn out, and here it is:
"Ko-ro-va mo-lo-co-yes-it."

"The cow gives milk"
But everything is needed the other way around:
"The cow gives milk"!

Let's take a deep breath first
Take a breath, cross out the line
And let's start over.

"Yes, it is ko-ro-va mo-lo-ko."
The pen clings to the "ko"
And the blot is black like a beetle
From the end of the pen it slips suddenly.

One second has not passed
How "ko" and "mo" and "lo" disappeared ...

One more page out!

And outside the window from all sides:
And the banging of the ball, and the barking of the puppy,
And the ringing of a bell, -
And I sit, I look at the notebook -
I bring out the letter behind the letter:
"Yes, it is ko-ro-va mo-lo-ko" ...

Yes! Becoming a scientist is not easy!

FROM THE HISTORY OF LEARNING PURIFICATION

The development of the method of calligraphy is closely related to the history of writing, the emergence and development of which, in turn, was influenced by the stages of the historical development of society? " the expanding and complicating needs of people in communication, the achievements of the scientific, technical and cultural progress of mankind, which sharply influenced the selection of tools, materials and methods of writing. For a very long time, people, wanting to convey their thoughts, write them down, carved, carved their letters on stone, metal, clay, wood. Later, soft materials appeared: papyrus, parchment, linen, paper; new writing tools: reed stick, paintbrush, quill pen, steel nib, and finally ballpoint pens.

As in any other area of ​​pedagogical science, there was a struggle of ideas, opinions, methods in the field of teaching calligraphy. As usual, the winner was that which at a certain historical stage more satisfied the needs of society.

So, steel feathers, appearing back in early XIX in., not without struggle come into use in schools only in the second half. And even at the end of the 19th century. voices were heard in favor of goose feathers (they are softer, give a more beautiful outline, they can be sharpened according to the hand of the writer, finally, they are cheaper, etc.).

The last argument was important for solving the issue of teaching writing in schools.

Learning to write was very difficult, mainly the method of mechanical exercises, rewriting was used. Students copied the same letters in alphabetical order for several months, then syllables, then sentences, often unable to read what was written. When teaching writing, neither the graphic difficulties of the written alphabet, nor the difficulties of mastering the literacy were taken into account.

Only under Peter I was the font simplified. Russian people began to write in the commonly used European script based on the pattern of Latin letters. The writing was greatly simplified, but the font was still rather elaborate. The writing process was lengthy and the desired cursive writing was difficult to achieve.

Over time, teaching writing was introduced into the primary school curriculum as a subject.

Calligraphy was part of the art cycle. The calligraphy teachers were both drawing and drawing teachers. It was important to write beautifully and quickly. In the middle of the XIX century. a number of guidelines for teaching cursive writing appeared: V. Polovtsev “Cursive writing course”, Khodorovsky “Cursive writing course”, Barantsevich “Cursive writing manual”. P.E. Gradoboev released recipes that give samples of beautiful business letter: statements, invoices, receipts, bills, etc.

The expanding needs of society for writing, the development of office work and a variety of business correspondence required further simplification of the type in order to speed up and increase the volume of records produced. The civil script, which was created during the reign of Peter I, no longer satisfied the needs of society in cursive writing.

At the beginning of the XX century. the question of simplifying the written type arose with new urgency.

Need in further work in this direction exists at the present time. Thus, N. I. Tkachenko, D. A. Pisarevsky, E. V. Guryanov, F. G. Golovanov, and others wrote about the need to simplify the typeface. designed for quick writing in various fields of study, communication, strongly demanded changes in the written font. In the 1960s, an extensive experimental test of various variants of the new typeface was carried out in the RSFSR and other republics. In 1970, schools adopted a new school writing font, greatly simplified, adapted to ballpoint penless writing and contributing to the development of non-tear-off high-speed writing skills.

Methods of teaching children to calligraphy underwent historical changes. So, until the middle of the XIX century. teaching to write was in isolation from teaching to read. The letters were written in alphabetical order from "a" to "Izhitsa". The main method of teaching writing was the mechanical repetition of countless exercises in writing letters, words and sentences.

KD Ushinsky suggested teaching writing together with reading, on the basis of reading, that is, meaningfully. Thus, the order of teaching writing depended on the order of teaching reading. As the practice of applying the new method has shown, students have mastered more successfully and quickly meaningful writing than writing all letters in a row, regardless of reading mastery. KD Ushinsky, being not only a methodologist and teacher, but also a psychologist, put forward the principle of simultaneous learning to read and write because the conscious mastery of a graphic sign is easier, more accessible and more interesting for a child. This principle has been preserved and is being applied in schools today.

The improvement of the methods proceeded along the line of taking into account the patterns of the formation of graphic writing skills, convenience when writing, increasing the proportion of conscientiousness when writing. It was closely associated with the development of related sciences - pedagogy, psychology, school hygiene, physiology, studying, to one degree or another, the process of writing from certain points of view.

At the end of the XIX and at the beginning of the XX century. there is a variety of methodological literature on teaching children to write. Among them, it should be noted the methodological manuals of I. Ye. Evseev. His "Methods of teaching calligraphy" was reprinted several times. It still has not lost its significance for specialists: it provides a historical overview and the origins of individual methods of teaching calligraphy, sets out in detail the order of studying letters in groups and methodological techniques for teaching writing, and includes prescriptions and samples of different fonts. The book is written in an accessible and interesting way. It not only gives recipes, but also explains the meaning of each methodological technique.

The methods of V. Gerbach and F.V. Grekov were also of well-known interest.

Since the end of the last century, some studies of hygienists have been introduced into the practice of the school. Hygienic requirements for seating are being developed, furniture, the most convenient for writing classes, is being developed - the school desk of Professor F. Erisman. Not only methodologists, but also hygienists - A.S. Virenius, V.I.Byvalkevgich, and others take part in discussions on teaching writing.

A number of issues are discussed in teaching writing: whether to teach children direct or oblique writing, on an oblique grid or without it. For some time, direct writing was introduced in a number of countries on the grounds that it (as believed by its supporters) promoted a better fit, while there was less cases of squint and the handwriting of children was more legible. In Russia, direct writing is also being introduced in a number of schools for a certain period. However, the dominance of direct writing did not last long. It turned out that it did not reduce any cases of curvature of the spine, or myopia, or strabismus. The advantage of italic writing was found primarily in the fact that it was faster and more convenient.

In the system of teaching writing, methods (or methods) such as copying, linear, rhythmic, genetic, and Carster's method are spreading. Over the years, preference was given to one of them.

The teaching of calligraphy by the copying (or stigmographic) method consisted in circling the letters printed in special notebooks (dots, pale ink) or written by hand by the teacher in pencil. The method was introduced to the school in the 19th century and was calculated on the fact that long-term, min and mechanical, tracing of beautiful writing samples should eventually develop the correct shape of the letters. Leading Methodists of the late 19th and early 20th centuries (I.E. Evseev, F.V. Grekov and others) criticized this method primarily for the fact that learning by tracing ready-made samples does not lead to conscious mastery of handwriting, but is based on a mechanical exercise that dulls the mind. We also find sharp criticism of this method, as the only one, from the Soviet methodologist V. A. Saglin. He wrote that, when circling letters, students do not understand either their structure or the sequence of the outline, they circle slowly and hesitantly.

However, many methodologists (for example, D.A. Pisarevsky, N.I.Bogolyubov) admitted that the use of the copying method for special purposes in conditions of individual work with children on early stage learning is entirely appropriate. D. A. Pisarevsky also believed that the skillful application of this method can give a certain effect when correcting the handwriting of third grade students.

Thus, realizing what harm the copying method, as the only or one of the leading ones, can do to teaching calligraphy, all Methodists admitted its limited use for some special purposes.

The linear method also has its origins in the distant past. This method is based on the font approach to teaching - exact and always equal distances between the elements of letters, exact proportions of the height and width of the letter and its parts, that is, the letter, and therefore the words, could be written using an auxiliary grid that determines the height letters of the letter as a whole and its half, slope, distance between elements, etc.

The graphic grid has been used since 1857 in Germany. It quickly spread to other countries. TO late XIX v. in Germany, for example, it was already rejected on the grounds that the oblique mesh is harmful to vision, deprives children of independence, and constrains hand movements.

Since calligraphy in Russia was entrusted to teachers-artists, it is quite natural that they were inclined to teach writing the way they taught drawing - with an auxiliary grid for constructing letters when writing. This method, as the only one, also did not justify itself. The frequent oblique mesh did not contribute to the development of writing skills, the formation of an eye, etc.

Most Methodists both before the revolution and in Soviet time saw the harmful effect of a frequent oblique mesh, recommended using it very limitedly, and many called for abandoning it: E.V. Guryanov, F.G. Golovanov, E.N.Sokolova. Even in pre-revolutionary times, manuals were published without an oblique grid: only with lines that determine the direction of the line and the height of the letters. It was noticed that with an oblique grid, children learned to hold the notebook straight. The straight position of the notebook in oblique writing led to the consolidation of the wrong movement of the hand when writing along the line and the wrong posture while writing.

Some teachers successfully solved the problem of teaching first graders to write when working in notebooks in one line (without the top line of the working line).

Genetic way is that the letters are studied in the order from graphically simple in the form of letters to graphically more complex. According to the composition of similar elements, the letters are divided into groups according to the increasing graphic complexity.

The genetic method was long ago. I.E. Evseev wrote that back in the 16th century. for the first time he was mentioned by the German artist Durer, who proved that all writing consists of a certain number of main lines. In teaching "writing, this method was used by Pestalozzi. During the XIX century. the genetic method found application in teaching writing in schools in Europe. Transferred to the Russian school, he once played a very positive role, replacing mechanical exercises from "a" to "Izhitsa". D. A. Pisarevsky believed that the genetic method is the most suitable for the initial mastery of writing. When writing letters in alphabetical order or in the order given in the primer, the study begins with very difficult forms. Even earlier I. E. Evseev and F. V. Grekov adhered to the same opinion. However, all Methodists understood that it was impossible to write letters without comprehending them, to teach to write in isolation from teaching to read. Therefore, the genetic method was used in our schools after all the children had already learned to write letters in the order of their reading, that is, only to improve writing, to perfect the shape of the letters.

V methodological developments Recently (N. I. Tkachenko, A. I. Voskresenskaya, etc.) this method was used to work out the shape of letters in the post-letter period. A gradual increase in difficulties occurs not only when studying the shape of letters, but also in the transition from one ruler to another (from a frequent oblique grid to writing from notebooks with a rare oblique and, finally, to writing along a single line), in the transition from element-wise to letter-by-letter, then to continuous writing.

The tactical (or rhythmic) method is writing at the count, at the same pace and rhythm for all students.

Some Methodists at one time were very fond of this method, believing that only by this method is it possible to form a beautiful handwriting. Subsequently, it turned out that the rhythmic method has its own disadvantages and advantages, and using it, one cannot solve all the difficulties of teaching calligraphy. However, most Methodists recognize positive features the tactical method (with its limited use), since it is convenient for working with the whole class, increases interest in classes, develops confidence and smoothness of hand movements, helps to establish the required writing speed.

But with prolonged and constant use of this method, children get tired faster, their interest in work dulls.

Another common method is teaching writing by prescribing special exercises to develop hand movements: fingers, hand, forearm. This method went down in the history of calligraphy as the method of the Englishman Carster, who described it at the beginning of the 19th century. When applying this method, free, confident and quick hand movements are achieved: first, writing 19 elements in a close-up, then letters connected with special strokes, then words without any auxiliary lines. Such lines are necessary for mastering the ability to use the direction, space of the sheet and the development of freedom and ease of movement of the hand.

According to many methodologists, Carster's system of exercises was more suitable for adults in developing speed or correcting handwriting than for children, since many of the lines were difficult in technique. However, later, individual exercises were successfully used for teaching children (see the recipes of A.I. Voskresenskaya and N.I. Tkachenko, manuals by V.A. Saglin, N.N. Bogolyubov, etc.).

This chapter covers traditional ways teaching calligraphy. As you can see, in the practice of broad learning, none of the considered methods proved to be the only one. Best results have always been achieved by a reasonable combination of these methods on certain stages learning to write.

OBJECTIVES, OBJECTIVES AND PRINCIPLES OF LEARNING PURITY

The subject of calligraphy begins at the end of grade 1 after the end of the literacy period and continues in subsequent grades.

However, it would be wrong to understand that the tasks of teaching calligraphy were put forward only from this period. The work on calligraphy begins from the first days of the child's admission to the first grade, simultaneously with teaching writing.

The goals and objectives of the subject of calligraphy are closely related to the formation of writing skills in general.

The ability to use the written method of communication is extremely important for every person. However, writing can be a genuine means of communication if it is readable, clear, and as beautiful as possible. This reflects both the culture of the writer himself and respect for the one who will read what is written.

In modern society, in an era of scientific and technological progress and a stormy flow of information, a person also has to do a lot of education and self-education, keep records of lectures, messages, lectures, abstracts, and the share of scientific and business writing is also increasing: correspondence, keeping minutes, documents, writing reports, preparation of articles and description of experiments, observations, research, etc. In all these and many other cases, there is a need for not only legible, but also fast writing.

Hence, the purpose of doing calligraphy, or calligraphy, is the formation of a graphically correct, clear and fast enough writing.

In other words, at the lessons of calligraphy, it is necessary, through the correct selection and conduct of "special exercises, to form in students such skills that, when switching to fast writing, would help to preserve the clarity of handwriting and would ensure sufficient speed in the execution of written work in the middle level.

Calligraphy classes should help develop a full-fledged writing skill, which is what primary school teachers are guided by in the documents on the reform of the general education and vocational school. It is impossible to develop a clear, beautiful and fast letter from students in a short time. This will take a number of years, as the writing skill is slowly developing.

Achievement of this goal depends on the solution of many problems facing the teacher from the first lessons of teaching writing.

First, you need to familiarize yourself with the rules of planting and possession of tools, orientation on the pages of letters, notebooks, initial acquaintance with the outlines of letters, letter combinations, writing syllables, words, sentences.

Then - consolidation and improvement of these skills in the lessons of calligraphy. The tasks of teaching the reproduction of letter forms, keeping the same slope on the entire page, rational combination of letters in words, and the correct arrangement of words on a line are brought to the fore.

With the change of the ruling, it becomes important to observe the same height of letters in words on the entire line, the proportions of lowercase and capital letters.

In parallel, at each stage, the tasks of teaching coherent (non-detachable), rhythmic and fast writing are solved.

In the lessons of calligraphy, the tasks of improving the writing of letters belonging to a certain group are put forward, warning and correcting errors common for this group when writing them.

Later, when there are cases of distortion of letters due to an increase in the writing speed and some letters begin to resemble one another ( n as well as, like w, etc.), the problem arises of preventing such distortions when working out the shape of the letters in a faster letter.

When working on the height of the letters in grades I and II, where their height is determined by the ruling, the teacher makes sure that the lowercase letters are located exactly between the upper and lower lines of the working line. In addition, he also makes sure that capital letters do not reach the bottom line of the previous line, so that loops and other elements extending down the line are the same size. When children switch to writing along one line, the task arises of teaching them to independently adjust the height of letters in words and sentences across the entire line and page.

In addition to the general tasks of working with the whole class, the teacher sets himself the task of correcting certain deficiencies in writing in individual students.

The formation of writing skills as one of the most complex skills in human activity is based on certain principles of teaching.

The principles of teaching calligraphy include both general didactic and principles arising from the specifics of the formation of graphic writing skills. Such general didactic principles as conscientiousness in learning, accessibility, a gradual transition from simple to more complex, repetition, clarity, taking into account age and individual characteristics children find their specific embodiment in specific work on calligraphy. So, the principle of visibility, which is especially important in teaching calligraphy, is ensured by the teacher's demonstration of the writing process on the blackboard and in pupils' notebooks, the use of words, tables and other aids. It is impossible to teach spelling by giving only oral instructions, since the way of imitating the teacher's handwriting and copying samples good letter- one of the main ways of forming a clear handwriting.

It is very important that training in graphic writing skills is conscious. This means that the skills, techniques, habits that the teacher forms when teaching students to write must be explained to the students and understandable from the very beginning of their presentation. So, students should know how, in what order this or that letter is written, how it connects with other letters; know why we write with a tilt and how the tilt is obtained when writing, what the height of the letters should be, how to hold the pen, how to sit when writing, etc.

Some knowledge of the writing process should become rules for students. For example, students should be familiar with hygiene practices (how to place, position and advance a notebook when writing, and how to position a pen when writing), as well as rules related to mastering writing skills. The rules are introduced gradually, starting from the alphabetical period, as you study the material. The first rules are hygienic rules and rules for tilting the letter to the right. Then a rule is introduced about the distance between letters and elements of letters, between words. At the lessons of calligraphy in grades I and II, these rules are repeated. Children should be able to explain the rule in detail and show what it says.

For example, a student explains the rule "You need to write with a tilt": "To write correctly with a tilt, it is necessary that when writing, the notebook must always lie at an angle, then we write the main element directly at ourselves, and we get a letter tilted to the right." (The position of the notebook is demonstrated.)

The conscious assimilation of graphic writing skills is also facilitated by the ability of children to notice and correct their own and others' shortcomings.

To automate the writing skill, it is of great importance to adhere to the principle of repetition, which is carried out mainly in exercises.

Every skill is consolidated and improved, gaining speed and accuracy during the exercise. Exercise is not just a mechanical repetition of the desired movements and their sequence. The exercise should be such a repetition, repetition, in which the performance is improved.

Exercise, or repetition, is the oldest skill acquisition technique. But if an exercise simply turns into a repetition, without analyzing what has been performed, without comparing it with a model, without correcting mistakes, then it becomes mechanical and ineffective. Therefore, the exercises should be conscious, feasible, varied and effective. In order for the exercises to have all these qualities, calligraphy is used different tricks learning.

Repetition is especially important in the first stages of learning to write, since during breaks in learning (illness, vacation), children quite often forget the rules for writing, the forms of individual letters, etc.

Training in graphic writing skills is necessarily carried out taking into account the characteristics of children: the development of perception, speed of movement, the anatomical apparatus of movements (hand) and neuromuscular control of movements (coordination of movements) from the side of the central nervous system.

For children of 6 years old, the writing process is very difficult due to the slowness and lack of firmness of hand movements during the writing process. The developmental features of the child's body are taken into account when dosing the number of written exercises and the speed of their implementation.

At the same time, it is important that education is somewhat ahead of the development of children and contributes to their further formation. This provides for the principle of a gradual increase in difficulties, the transition from simple to complex.

So, children of 6 years old can perform, without lifting their hands, first the elements of movement that make up letters, then letters, then letter combinations, where the connections are made by natural rhythmic movements (such as ish, whether, ate, etc.). It is not necessary for children of this age to demand an uninterrupted connection of each of the letters, especially those that are connected with subsequent oval and semi-oval letters, since the implementation of these connections is difficult for children of this age. These compounds are introduced later and gradually.

Starting from grade II, children learn to connect without separation with oval letters, learn to write a syllable of 2-3 letters with them, etc.

The transition from simple to complex also occurs in the process of working on the shape of the letters in calligraphy lessons. The first group of letters includes graphically simpler letters, the following ones - more complex in their outlines. Such an organization of work on the forms of letters - by groups (based on the similarity of spelling), in the order of increasing graphic difficulties - is called the genetic principle in calligraphy. Thus, the transition from simple to more complex in a specific subject is expressed as a special genetic principle in the formation of the skill of graphically correct and clear writing.

When teaching children to calligraphy, the teacher should rely on the principle of taking into account the individual characteristics of children: it is good to know children's ability to write, take into account the peculiarities of children's vision (myopic, farsighted), notice deviations in motor skills

(trembling fingers, twitching of the hand while writing, etc.). The teacher should see how the student sits, how he holds a pen, puts a notebook when writing, how he reproduces the shape of a letter, in what sequence, how he connects letters, writes slowly or very quickly, etc.

Such knowledge of the students' capabilities allows the teacher to properly organize the work on calligraphy, select individual tasks for students, give specific advice parents.

The specificity of teaching calligraphy, due to the sensorimotor nature of the writing skill and its serving role (for lessons of the Russian language, mathematics, etc.), requires adherence to specific principles that are specific to the formation of graphic skills.

So, in the first stages of teaching literacy, the principle of joint teaching to read and write is important. Introduced by KD Ushinsky, this principle has proven itself in teaching practice for more than a hundred years and is being successfully implemented at the present time.

Any letter should be literate, readable, fast enough to provide the ability to solve problems in subjects such as Russian, mathematics, etc.

However, one cannot fail to take into account that the work on calligraphy is mainly aimed at the formation of a motor skill that obeys in its formation the laws of the formation and development of movements (convenience for hand movement, correction of visual and motor sensations and perceptions, speed of movements, etc.). Therefore, reliance on the patterns of the formation of motor skills in writing is very important in the classroom, so that the process of writing itself is convenient for the writer and contributes to the mastery of the most accurate and fast movements of all parts of the hand.

The formation of calligraphic writing skills is of great pedagogical and social and educational significance.
Teaching students to write neat and clear, caring
about the stability of their handwriting, the teacher educates them to be accurate, industrious, conscientious and diligent attitude
to the performance of any work, not only written, respectful attitude to people, to their work, finally, contributes to their
aesthetic education.

Primary school formation individual handwriting does not end, this process continues in secondary school.

PSYCHOPHYSIOLOGICAL FEATURES OF FORMATION OF GRAPHIC LETTER SKILLS

In order to properly teach students to calligraphy, you need to know how students develop graphic writing skills, how handwriting is formed and what are best conditions building these skills.

They are developed through prolonged exercise.Skills, for example, include reading, computational skills, drawing, painting, speaking, knitting, etc.

Graphic writing skills are related to a person's sensorimotor skills. But, unlike most sensorimotor skills, which are included either in work activities (sewing, sawing skills, working with some kind of tool), or in sports activities (skating, dancing, ball games, etc.), graphic writing skills are related to the learning activity of a person and serve the process of writing. This is the specificity and complexity of their formation. They are not formed in isolation, but together with reading, spelling, and the development of writing. The spelling and calligraphic aspects of the writing process, formed at the highest level, are not realized or are very little understood. The main focus of a person is on how to express a thought in words. This does not mean that at the highest level of proficiency in written speech, it is impossible to follow the movement of the hand during the writing process. Switching attention to hand movement while writing is quite possible (even if a person has already developed handwriting), but usually there is no need to follow hand movement while writing. The very process of writing words is easy and fast, like walking a physically healthy person.

Handwriting is a very stable individual education. By handwriting, as is known, identification of a person's personality is possible.

This stability of human handwriting from the point of view of physiology is explained as the development of stereotyped conditioned reflex connections, dynamic stereotypes (according to I.P. Pavlov).

The writing process is very complex and captures various spheres of human mental activity. Writing both from memory and dictation is associated with various anatomical and physiological structures of the brain. As shown by a number of works (R. E. Levina, J. I. Schiff, S. M. Blinkova, A. R. Luria and others), violations of some areas of the cerebral cortex lead to various disorders of writing and writing. The study of the nature of these disorders made it possible to consider different parts of the cerebral cortex in connection with different types of written speech. The temporal regions of the left hemisphere of the brain are associated with auditory analysis in the process of writing: their damage most of all causes a violation of the process of writing, carried out by ear, but has little effect on cheating. The posterior central regions of the left hemisphere, synthesizing kinesthetic sensations, are also associated with writing processes - namely, the control of movements through the articulatory systems of speech. The occipital-parietal region is associated with the visual organization of the writing process. Her defeat leads to spatial disturbances in the writing process. Compliance with the alternation and sequence of the desired repetition of letters is associated with the premotor region of the cortex and the preservation of the motor image of the word. The left frontal lobes - the motor center of speech - are most associated with the preservation of the intention in writing. Their defeat makes it impossible to write consistently.

Thus, the writing process is associated with the activity of all parts of the cerebral cortex, although their role in different types the letters are not the same.

By the age of school, not all parts of the cerebral cortex are morphologically and functionally developed in a child, especially the frontal lobes of the cortex.

Formation of a skill requires the learner to be prepared to learn the skill. Moreover, any skill has its own specific areas, which must be in a state of readiness by the time the skill is formed. Sometimes it can be formed only on the basis of an already significantly formed other skill.

The development of finger and hand movements is very important for mastering the writing skill. These movements develop in a child
gradually throughout the preschool period. If the grasping of objects - a ball, a cube - is formed in a child
by about 15 months, then holding a pencil in hand, a spoon
when eating requires more complex coordination. So, TS Komarova writes, “although the movements of the child's hand by the age of three
already significantly developed, by tool actions with a pencil
and children, as a rule, do not yet own a brush ”. If these skills are not
are worked out, children do not own them even at the age of six: they keep
the pencil with all fingers, squeeze it tightly. The development of fingers and hand is achieved by correctly organized drawing,
modeling, designing, which will help a lot in the future
children in mastering writing skills.

EN Sokolova studied finger movements in children 4-7 years old in connection with the study of the possibility of preparing for the formation of writing skills. It was found that it is easier for children of this age to flex and extend a large and forefinger and more difficult - rotational movements / of these fingers. At the same time, finger movements, especially rotational ones, in most cases (even in children 6-7 years old) are accompanied by movements of the lips and tongue. This fact suggests that / the organization of movements at the highest level of cortical regulation; apparently, it is still not sufficiently differentiated: the movements of the fingers and the speech motor apparatus are inextricably linked.

The development of movements of the fingers of the hand, apparently, will be delayed even with intense exercise, since by the time the child enters school, the ossification of the fingers has not yet been completed.

In early and preschool age, there is also the accumulation of experience of movements, the development of motor and visual control, which is so characterized by E.V. Guryanov. In preschool age, the first movements with a pencil are observed on the basis of motor impulses: large sweeping movements, there is still no attempt at visual regulation of movements. At preschool age, visual, although not perfect enough, control over the movement of a pencil in a drawing appears.

Already in preschool age, in the formation of movements and motor skills, the role of imitation, the role of verbal explanation, is very important (data of A.V. Zaporozhets). If these techniques are insufficient, children can, when mastering movements, be guided by the muscular sensations obtained by guiding their hands by adults (I.S. Komarova).

According to E.N.Sokolova, in children 4-5 years old, images of a straight line, an oval are accompanied by a noticeable tremor of the fingers of the hand, so that as a result, straight lines are curved, the oval is zigzag and not always closed:

By the age of 6, hand movements when writing letters and their elements are more confident, however, residual tremor during the transition from writing a straight line to rounding is still quite possible in many children.

Studies by DB Elkonin, LF Tkacheva, LV Zhurova and others have shown that a child's phonemic hearing is sufficiently developed by the age of 6 and is ready for auditory analysis and synthesis; the articulatory system of most children is also fully prepared for the pronunciation of speech sounds, which is very important for starting learning not only oral speech, but also writing.

Formation of graphic writing skills begins long before a child enters school. In preschool age (up to about 3 years), children pick up a pencil or pen and draw straight lines or closed scribbles on paper, not yet controlling, without directing their eyes with their eyes.

Later, visual control begins to turn on - the child draws something (a house, the sun, a tree, etc.), writes individual printed letters with a pencil. Classes in modeling, construction, paper crafts, etc. develop the hand, fingers and eyes of the child. These activities that are interesting for children also prepare the child's hand and eye for the process of writing - they develop the small muscles of the hand, teach them to see the shape and reproduce it.

Thus, by the time the children enter school, the child's eyes and hand are to some extent already ready to learn to write. However, the movements performed in the process of writing cannot be reproduced either in drawing or in modeling (the types of activities that are closest to writing). The writing process involves other finger movements in the work, visual perception is also subordinated to other goals than in visual activity.

In practice, sometimes there is also an undesirable transfer of some techniques learned in the preschool period when drawing. For example, the techniques for holding a pencil are carried over to the position of the pen in the hand when writing, but they do not quite coincide. The habit of drawing straight lines (a house, a tree, a fence, etc.) leads some children to the fact that the requirement to write "on themselves" in an inclined position

Developing in elementary school students the skill of the correct, clear, beautiful letter, calligraphic style is a serious and painstaking business. It requires a lot of stress, knowledge and systematic exercises from the teacher.

But all the difficulties in instilling this skill, in the development of attention and accuracy in children, must be overcome in view of of great importance letters. Written speech is one of essential funds communication.

I. V. in his work on linguistics points out that without an exchange of opinions, “... without a language understandable for society and common for its members, society stops production, disintegrates and ceases to exist as a society. In this sense, language, being an instrument of communication, is at the same time an instrument of struggle and development of society. ” , the emergence of the printing press, the development of literature, - says I. V. Stalin, - all this made great changes in the development of the language. "

Having so essential in the life of the people, writing thereby acquires the same meaning for each individual person. Correct and beautiful handwriting makes it easier to read anyone handwritten text, promotes easier and wider communication between people in all areas of social activity, evokes a natural feeling of satisfaction for both the writer and the reader, creates the preconditions for a more lively work of thought.

“By accustoming schoolchildren to the accurate and precise execution of written work, by straightening their handwriting, the teacher fosters in students respect for their work, a responsible attitude to the task performed, the habit of cleanliness and order.”

1 I. Stalin. Marxism and questions of linguistics. Gospolitizdat, 1952, p. 23.

2 Ibid., Pp. 26-27.

3 Methodological letter "Unified school mode of literate writing and speech culture." Uchpedgiz, 1952, p. 12.

Therefore, teaching calligraphy, the teacher must constantly strive to instill in students the knowledge and skills of correct, legible and speedy writing, because further success in teaching each student will depend, to a certain extent, on their strength.

XIX Congress of the Communist Party. Soviet Union, who opened up new perspectives in the further development of the cultural level of our people, in his directives outlined a new stage in the development of public education: the transition from seven-year education to general secondary education (ten-year) and the transition to universal polytechnic education

Calligraphy

Text: Vladimir Berezin

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Pedestrian writer Vladimir Berezin on keys, feathers and unforgiving time.

... "Yes, it is ko-ro-va mo-lo-ko."
The pen clings to the "ko"
And the blot is black like a beetle
From the end of the pen it slips suddenly.
One second has not passed
How "ko" and "mo" and "lo" disappeared ...
One more page out!
And outside the window from all sides:
And the banging of the ball, and the barking of the puppy,
And the ringing of a bell, -
And I sit, I look at the notebook -
I bring out the letter behind the letter:
"Yes-it ko-ro-va mo-lo-ko" ...
Yes! Becoming a scientist is not easy!

Sergei Mikhalkov, "Calligraphy"

In my old age, I also took part in a total dictation. True, in absentia, and with a not very good result: three extra commas, one missing, and one potential mistake (I wrote it right not because I knew how it should be, but because I guessed it).

I was lucky, because my text was dictated by the writer Yuzefovich himself, and, moreover, this best text what I've seen there over the years.

Regardless of the test function, it is good in itself - both aesthetically and ideologically, and, in general, whatever you want.

Everything is good there - and the balance three parts and three cities, the intonation itself, and especially the author's benevolence towards the universe in general and the reader in particular. True, I saw how the Permians were offended for the sterlet and began to say that there was a mistake in the dictation, the sterlet did not disappear from them at all, and they will overshadow any city with this sterlet, but this does not diminish my pathos.

But I want to say something else: at one time I went through the usual calligraphy lessons for a Soviet schoolchild - drawing sticks and elements of letters, a notebook in a ruler, a desk with hinged lids, painted green on top oil paint, and below it is brown. Moreover, under the layer of green, hollows for fountain pens and a depression for ink were guessed.

Ink! It seems that ink was poured here - at least that's how they explained it to me.

I was taught to write by hand correctly and legibly, and I thought that if I were a real participant in total dictation and hand over what was written by hand, then in a couple of places I could count mistakes for handwriting.

The blots described in the poems of Barto and Mikhalkov are perplexing for a modern student

In my childhood, there was a presumption of guilt in the "illegible" zone, in other words, it was necessary to write clearly. There was a terrible word, blots - for blots, the grade was lowered. Somehow a clear and eternal world was destroyed, a new rule came into it - in the capital, that is capital letter"A" should have been written in a curl instead of a crossbar. The curl started at right leg and moved like the Lissajous figure, whom I met later, up and to the left, in order to then go to connect with the next letter or break into emptiness. Then the rules changed, and a simple line began to cross the letter. This activity was hated by many, I will not say that everyone - however, the teachers said that fine motor skills calligraphy stimulates the brain.

Calligraphy is not an easy art: improving aesthetics makes utilitarian understanding difficult. Calligraphy is directly tied to the writing tool - fountain pens the old model allowed us to make letters the way we see them in the old scripts - wide from the side and thinning when turning. Ball pen equalized the thickness, and now it has been replaced by gel. The blots described in the poems of Barto and Mikhalkov are perplexing for a modern student.

Chalk has become a rarity - that letter on the blackboard, in which you reached for top edge and the white flour of unwritten letters sprinkled on the school uniform. Now they write with felt-tip pens - at least in those schools where I was studying.

The motor skills are still fine, but different.

Calligraphy, which disappeared with real grammar schools, returned to the USSR in the thirties, when “the school, like a barge with prisoners, moved further and further away from the shores of freedom and experiments of the post-revolutionary years. The posts of vacated class teachers were abolished, in the first and second grades, calligraphy (formerly calligraphy) was introduced again, as in the “old regime,”; their bold and hairy lines have become the subject of study and imitation. The pen number 86 became an obligatory tool of labor for the first grader. The frog feather was less encouraged, and the soldier feather was banned in some places for its inability to draw hair lines. In schools, in general, the requirements for literacy and for maintaining order in the Russian language have increased " * - Andreevsky G. Everyday life Moscow in the Stalin era. 1930-1940s. - M .: Molodaya gvardiya, 2008.S. 123.
.

There were and are many textbooks on calligraphy - but now they have disappeared somewhere in the shadow of public consciousness, and I still found scary books from the past. One of them was printed by Uchpedgiz even when there were two bodies in the Mausoleum and the city on the Volga was called after the battle.

It spoke of the ideal writing like this:

"1. Only oblique writing is considered correct and beautiful, in which letters are written at an angle of 65 °. Oblique writing is more natural than straight writing, as it corresponds to a better, more relaxed position of the hand, body and head. If, for example, you put a sheet of paper or a notebook in front of you, not obliquely, but straight, and start writing, then when the forearm moves from left to right, while maintaining the same position of the elbow, the line will invariably rush upward. In order to write it strictly according to the ruler, you have to "shorten" the hand and forearm all the time. Prolonged writing in this position causes the appearance of a disease - the so-called writer's spasm. With oblique writing, the possibility of writing spasm is excluded. Only in oblique writing is a uniform handwriting preserved, its legibility and rhythm. Oblique writing is most suitable for the development of cursive writing (I.E. Evseev). Direct writing often turns into the so-called mirror writing (with a tilt in left side), which has an extremely illegible and ugly appearance. In defense of direct writing, the argument was usually put forward that it requires a normal landing for children, therefore, it is more hygienic than inclined. But this consideration cannot be recognized as correct, because the writing bias is achieved not due to the landing, but due to the position of the notebook.

2. Correct and beautiful writing must necessarily have pressure, which gives it rhythm and legibility. The pressure in the letter of students is developed through the use of correct techniques and lengthy exercises. When the pen moves down, its tips move apart. It turns out to be a bold line. When the pen moves up, its tips come together. A thin hairline is formed.<...>Many writers, including children, often develop a false bias against pressure, and to avoid it, they begin to write with the side of the pen. It seems to them that writing without pressure is cleaner, tidier. But a letter consisting of densely intertwined, hair-like, identical features, of course, cannot be legible, rhythmic, and, therefore, beautiful. It is also very important that children write not just with pressure, but observe different types pressure, for example, when writing a straight line, a straight line (sticks) with a rounding at the bottom, ovals and semi-ovals, flame-like lines.

3. Lowercase letters must be of the same height; capital letters must also have a certain height and are much larger than the size lowercase letters... The height of lowercase letters gradually changes during the first three years of study. In the 1st grade, children write letters 8 mm high, in the 2nd grade - 5 mm and in the 3rd grade - 3 mm.

In the past, our calligraphers, for example, P. Ye. Gradoboev, kept the view that a capital letter could be 3-4 times as tall as a lowercase letter. At present, Soviet methodologists hold the point of view that the capital letter in the 1st grade when writing along oblique rulers big size should exceed the lowercase by 2 times, and starting from the II grade both when writing along two lines, and when writing on one ruler - 2½ times. Thus, in normal writing (cursive writing), the height of the capital letters is 7.5 mm.<...>However, in order for the letter to be beautiful, it is necessary to observe not only the same height of the letters, but also correct ratio between the height and width of the letter. Normal should be considered a ratio in which the length of the main element, for example, an oval or oblique bar with pressure and rounding at the bottom, relates to its width, as 2: 1. The ratio of the letter's height to width will change based on the number of letter elements.

The letter's continuity was as convincing as a red service ID.

4. To maintain the correctness and beauty of the handwriting, the connecting lines between the letters, as well as the thin hair lines of the elements, are written with the same slope. True, this slope is somewhat greater than the slope of the main elements, and the features are more sloping than the features of the main elements, nevertheless, the monotonous slope of the hairline gives the entire handwriting an even and rhythmic character.

5. Finally, in order to maintain the correctness and beauty of handwriting, it is very important to evenly place letters in a word and words on a line. All lines must start on the same vertical line. The margins are usually made 3 cm wide.Words should be written so that there are equal gaps between them, equal to the width of the handwritten letter T. This gives the entire handwriting a strict rhythm, and, consequently, beauty.<..>

Only if all five conditions are met, as well as with the correct outline of the ovals, which should retain the classic elliptical shape, and with perfect straightness of the oblique lines, the teacher can achieve a beautiful writing in students. " * - Bogolyubov N. Calligraphy technique. - M .: Uchpedgiz, 1955.S. 16-18. .

The continuity of the letter was as convincing as the red service certificate, the pressure was as sure as the rhythm of the front columns on the paving stones of Red Square. Oh, there was the spirit of real Soviet calligraphy. For example, it was advised to establish a “calligraphic mode of the school<...>in this form:

“... 2. Notebooks for all subjects are drawn up in the same way: each notebook must be inscribed, have margins two fingers wide (3 cm) and contain the number of sheets established by the standard.<...>

3. Both class and homework should be done with ink of the same color, preferably black.

4. Pupils write with standard pens: 15 cm long and 0.8 cm thick. The use of short, all-metal or thickened pens is prohibited.

5. When writing, students should observe the established fit, that is, sit without tilting their heads low, holding the pen correctly and laying the notebook obliquely.

6. The letter should be oblique, with an angle of inclination of 60–65 ° with pressure, with the correct position of the pen. When writing, you can only use a sharp nib, preferably no. 86, and in no case use a Rondo nib and, in general, nibs with a blunt end.

Now you need to write less and less by hand, the handwritten is reduced to a signature

7. The outline of all letters must comply with the patterns established by the Ministry of Education.

8. When writing, erasures, the use of an eraser are not allowed. You just need to cross out the incorrectly written and carefully write on top.

9. The use of drafts is allowed only when solving control problems and when writing essays, and drafts must be written clearly.

10. Each work should be properly formatted, that is, at the beginning of the work, indicate the date, write the title, placing it in the middle of a special line.

11. When writing, no abbreviations of words should be allowed; for example, you cannot write because instead of because, teachers instead of students, etc.

12. All lines must begin at the same distance from the edge of the page and end at the margin.

13. To correct student written works, the teacher uses only red ink.<...>

15. All kinds of announcements posted in the school, as well as notes and articles in wall newspapers must be drawn up in compliance with the basic requirements of calligraphy " * - Bogolyubov N. Calligraphy technique. - M .: Uchpedgiz, 1955.S. 138-139. .

Now you need to write less and less by hand, the handwritten is reduced to a signature. Even in legal documents, which are filled in by hand on the spot, only personal data are inserted, which will soon be entered into a document from a voice. And then digital signature will finally end the era of writing in the truest sense of the word.

Many uninteresting public experiences are associated with the handwriting technique. Quite a few people claim that the pen in the hand (inadvertent pun) contributes to better work brain etc. It is said that handwriting is better retained in memory, calligraphy promotes a sense of grace, and many other nonsense in the style of glossy hairdressing magazines. Even those studies that are retold in detail raise doubts about the problem setting, and the emotional style resembles the debate about "warm tube sound" and the fact that "the smell of books cannot be replaced by anything." All of these "Five Reasons Why a Pen Is Better than a Keyboard" and "Twelve Reasons to Improve Your Handwriting Technique" are completely obscure, and are fought by a more or less witty opponent.

Moreover, a rather cynical debater can write his "Five Reasons Why Digital Writing Is Better Than Handwritten" and "A Dozen Ways to Improve Typing Technique."

Huge masses of texts - diaries, letters, suicide notes, drafts and notes - will never be read precisely because they were written by hand, because the illegible handwriting, the letters merged together, the ink got wet and blurred. They will not be read because yet, there is no search engine attached to this huge sea of ​​words - and the fate of millions of people, witnesses amazing events will remain on paper. Although they were written in calligraphic letters, and the paper still retains a faint smell of perfume that is no longer produced on the planet - all this will decay in the country attics, will be eaten by archival mice, filled with fire or tap water.

Writers, with rare exceptions, are low-paid, anxious and life-scared people

Sometimes lovers of the sublime attract the authority of writers to their aid. This is a rather dubious help - firstly, in the current century, writers do not at all enjoy the authority that they had in those days when the book replaced most of the knowledge about this and other worlds, but now it is not so. Writers, with rare exceptions, are low-paid, anxious and life-scared people. And the highly paid are not necessarily models of wisdom and mental health. Often glossy magazines tell us that Ivan Sinderyushkin writes only with a goose pen and only from Mikhailovsky, and John Pinkhasovich - only with a silver Harker pen, and you catch yourself in a shameful question: who are these people?

Second, someone’s personal habits are not always helpful to others.

Thirdly, there is no correspondence between the quality of the texts and the way of writing. There were people who created bad things and had beautiful handwriting, just as we know many excellent authors who wrote like hens with their paws.

But there were also authors who successfully recited their works to barefoot students in tunics, Petersburg stenographers and a small black voice recorder. There were also people who typed on typewriters all their lives. The words “equal force of impact” rustled, “Erica” takes four copies, the carriage bell tinkled warningly. Grease, tape, carbon paper ... Where did it all go? In the same place as cassette recorders and telephones with rotary dials.

Household culture is changing quickly and inexorably.

Knock-knock keys, creak-skip steel feather, squelch-squelch ink in the pump of the handle - someone with a funny rubber-nipple, and someone with a screw piston.

Of course, something remains in everyday life - I also saw a working phonograph (and many have experienced the chic of the coal samovar shown at the dacha).

However, the changes in everyday culture are inexorable - and soon it will be possible to issue a disposable device for testing.

And so - total dictation remains the most widespread phenomenon in the field of handwriting.

That's what I thought when I discovered that I could not, opening two windows on the screen at the same time, record in one and listen to the video in the other.

I wrote it down like that, for myself, simply, gel on yellow - about cognac and sterlet, hardworking tugboats and streets diverging from a distant river.

I wrote it down and returned to the keys.

There - a knock-knock, a creak-creak, and in this world - a click-click, or even a quiet rustle of fingers on durable glass.

One thing seems to be true - death poems are quite difficult to write in blood using a keyboard. But the fact that this skill disappears is not bad enough.