Ways of development of imagination in younger students. Coursework development of creative imagination in children of primary school age

Oksana Khramova
The development of creative imagination in children of primary school age

Imagination and fantasy are the most important aspects of our life. Imagine for a moment that a person would not have fantasy or imagination. We would lose almost all scientific discoveries and works of art. Children would not hear fairy tales and would not be able to play many games.

Imagination- this is inherent only to man, the ability to create new images (representations) by processing previous experience. Imagination is the highest mental function and reflects reality. With the help of imagination, we form an image of an object, situation, conditions that has never existed or does not exist at the moment.

Senior and junior school age are characterized by the activation of the imagination function. at first recreating(allowing you to imagine fabulous images, and then creative(due to which a fundamentally new image is created). Younger students carry out most of their vigorous activity with the help of imagination. Their games are the fruit of wild imagination.

Imagination provides the following activities for the child:

Building an image of the final result of his activity;

Creation of a program of behavior in a situation of uncertainty;

Creation of images that replace activities;

Creation of images of described objects.

So, the task of parents is to assist in every possible way in the development of the imagination process. The games and exercises presented below will allow you to train the process of imagination of younger students.

Exercise "Three colors"

The child is invited to take three colors, in his opinion, the most suitable for each other, and fill the entire sheet with them. What does the drawing look like? If this is difficult for him to do, let him finish the drawing a little if necessary. Now invite him to come up with as many titles for the picture as possible (with explanations).

Shadow guessing game

To do this, someone stands in front of the light source and, using the fingers and hands themselves, casts bizarre images onto the illuminated wall, which the child must guess and tell what he saw.

Game "Using Items"

The child is invited to think of other ways to use the objects around him. Dream up, find a new, unusual application.

Exercise "Three words"

Offer the child three words and ask him to write the largest number of meaningful phrases as soon as possible, so that they include all three words, and together they make a coherent story.

Words for work: Palace grandma clown; Robber mirror puppy; Cake lake bed.

The more phrases the child offers, the more developed his imagination.

The game "Circles on the water"

It is aimed at developing the creative imagination and at the same time the philological abilities of the child and vocabulary. When you throw a stone into the water, circles go from it along the water, the farther, the more. In the same way, a word that has sunk into the head can prompt a child to a lot of associations, cause various comparisons, memories, ideas, images. Offer the child any word, for example "lemon". What associations does it evoke? What combinations does it enter? For example, it is associated with words that start with the letter "l".

Offer to pick up in 1 minute as many words as possible starting with the initial letter

Offer to pick up as many words as possible for the syllable “li” in 1 minute.

Arrange the letters of the word in a column and offer to write the first words that come to mind in the corresponding letters: L-summer; And- frost; M-milk; O- cloud; H-nanny, etc. Invite the child to come up with a story from all the accumulated words.

Game "Decorate the word"

This game well develops figurative thinking, imagination, associative process and general awareness of the student. The main task of the game is to match the proposed noun with as many adjectives as possible. For example: TASK- simple, complex, difficult, incomprehensible; POEM- beautiful, beloved, big, difficult, etc.

Exercise "Inference"

The ability to correctly formulate premises and deduce consequences is the most important condition for successful study. A series of questions are offered, beginning with the words "What will happen ...". The task of the child is to give the most complete and original answers to the questions posed:

“What will happen if the rain keeps on pouring?”

“What would happen if all the animals started to speak with a human voice?”

“What will happen if all fairy-tale characters come to life?”

The more detailed and original the child answers, the brighter his imagery and “creativity” of imagination are developed.

Exercise "Rhymer"

The child is offered such a game: come up with words whose endings would sound the same (for example, bridge - tail). An adult can say the first word, and the child rhymes it with other words.

Given rhymes: Garden - grapes. ; Rad is an acrobat; Summer - cutlet; The joke is creepy; Bear - a book; Doctor - rook, etc.

Exercise "Draw the clouds"

The child needs to determine what the cloud drawings look like and finish drawing them. The form with drawings - clouds is offered in an arbitrary version.

Exercise "Composing Images from Objects"

Draw the given objects using the following set of shapes. Sets of geometric shapes (circle, triangle, trapezoid, etc.) are offered. Each shape can be used repeatedly. The child is invited to think, dream up what objects can be obtained from these figures. Objects for drawing: face, house, cat, joy, rain, clown.

Related publications:

The development of creative imagination is the basis of the child's speech development The development of the creative imagination of preschoolers is an urgent problem of modern preschool education in the light of the Federal State Educational Standard, which is powerful.

Approbation of non-traditional drawing techniques in the development of creative imagination of children of senior preschool age Based on the analysis of the results of the ascertaining experiment, the task of the forming part of the study was put forward: to select and test.

Booklet "TRIZ games and exercises for the development of creative imagination" What is TRIZ? TRIZ stands for "The Theory of Inventive Problem Solving". The author of TRIZ is a well-known scientist and compatriot Genrikh Saulovich.

Development of creative abilities of children with disabilities of primary school age by means of theatrical activities A long-term work plan on the topic of self-education: “Development of the creative abilities of primary school children with disabilities as a means.

Games of Yudina Elena Nikolaevna Topic: "Development of creative imagination by means of plot drawing" Didactic game "Living Spoons".

Imagination

The importance of imagination in human life was emphasized by many great scientists and artists. So, the famous English scientist of the XVIII century. J. Priestley specifically emphasized that the scientist and the mechanic need imagination not less, but more than the artist. J. Priestley was a chemist, biologist, philosopher, made many outstanding discoveries. He discovered that "bad" air is "corrected" by plants. Detected ammonia and other gases, received oxygen.

J. Priestley wrote that great discoveries, which "a prudent, slow and cowardly mind would never have thought of," can only be made by such scientists who "give full play to their imagination."

French philosopher-educator and writer of the 18th century. Denis Diderot exclaimed: “Imagination! Without this quality one cannot be either a poet, or a philosopher, or an intelligent person, or a thinking being, or just a person ... Imagination is the ability to evoke images. A person completely devoid of this ability would be stupid.

The modern Russian philosopher E. V. Ilyenkov wrote: “Taken in itself, fantasy, or the power of imagination, belongs to the number of not only precious, but also universal, universal abilities that distinguish a person from an animal. Without it, one cannot take a single step, not only in art... Without the power of imagination, it would not even be possible to cross the street through the stream of cars. Humanity, devoid of imagination, would never launch rockets into space.”

Imagination- the ability of a person to create new images by transforming previous experience.

Imagination is a very important mental process that is unique to humans. With the help of imagination, a person can change the world around him and himself, make scientific discoveries and create works of art. Everything - from the first fairy tales we hear in childhood, to the greatest discoveries - is originally due to the power of the human imagination. In other words, it is the imagination that largely ensures the progress of mankind, the development and activity of each person. After all, before you create something, do something, make an important decision for yourself, a person always first imagines it in his imagination. It is due to the fact that before a person starts doing something, he is able to see the final result in his imagination, imagine the future, he can prepare for it, in a sense, even master it.

Imagination affects the daily behavior of a person, his mood, behavior, even his feelings. For example, if we vividly, figuratively imagine some significant event for us, then our experiences are close to those that we will experience when this event happens. L. S. Vygotsky called this “the law of the emotional reality of the imagination.” “Any construction of fantasy,” he wrote, “influences our feelings in a reverse way, and if this construction does not correspond to reality in itself, then the feeling it evokes is still effective, really experienced, captivating a person.”

The influence of images of the imagination on feelings and emotions is very well shown in the famous poem by K. Chukovsky:

Imagination images can acquire motivating force, become motives for behavior and activity. Therefore, the development of the imagination is also the basis for the formation of a person's motivational-need sphere.

Thus, the importance of imagination in human life is extremely high. The data of psychological research indicate that imagination develops most intensively at preschool and school age (from 4-5 to 15-16 years). Meanwhile, when it comes to development, then in preschool, and even more so in school educational institutions, they primarily mean the development of memory, thinking, attention and do not pay attention to the development of the imagination, believing that it is already inherent in the child by nature and not needs special development. Studies show that if the imagination is not loaded, not exercised, then with age, many of its capabilities become impoverished, and this leads to impoverishment of the individual, a decrease in creative possibilities.

Therefore, the imagination must be specially developed, trained, and it is important to do this in early childhood, and at preschool, and at school age.

The psychological nature of imagination

As already noted, the process of imagination is manifested in the creation of something new by a person - new images and thoughts, on the basis of which new actions and objects arise. At the same time, something new, created in the imagination, is always connected in one way or another with the really existing one.

Imagination images are created due to the ability of a person to notice and highlight in everything that he sees, reads, hears, feels and experiences, individual details, qualities, signs, properties and use them to create new images.

Not without reason, some psychologists compare the imagination with a child's toy - a kaleidoscope, in which, instead of colored glass, all the wealth of the surrounding world and the inner world of a person is wealth presented in all details and details. In the kaleidoscope-imagination, these details, the details can be formed into an innumerable variety of the most diverse images.

Why can these details add up to new images? This happens due to two very important properties of images - their flexibility and mobility. If you imagine something, and then try to fix, stop this image, usually nothing happens: the image changes, turns in different directions, crumbles and reappears, but a little different.

Therefore, images are easy to transform, and we can control it. This applies to all images - both those created in the process of sensation and perception, and images of memory, and images of imagination.

But if the main function of memory images is the preservation of experience, then the main function of imagination images is its transformation.

All images, representations of the imagination are built from the material obtained in past experience, from what was felt, perceived and stored in memory. The imagination cannot create out of nothing (a blind person from birth cannot create a color image, a deaf person cannot create a sound image). The most bizarre and fantastic products of the imagination are always built from elements of reality. But in contrast to the images of memory in the activity of the imagination, these representations undergo a profound change.

Memory representations are images of objects and phenomena that we do not currently perceive, but once perceived. With the help of imagination, the images available to a person enter into unusual, often unexpected combinations and connections.

Imagination transforms reality and creates new images on this basis. It allows us to use not only our own experience, but also the experience of other people, of all mankind. Thanks to this, we can create ideas for ourselves about things that we ourselves have never perceived before.

Imagination is closely connected with thinking, therefore it is able to actively transform life impressions, acquired knowledge, data of perception and ideas. In general, imagination is associated with all aspects of a person's mental activity: with his perception, memory, thinking, feelings. The development of imagination is inextricably linked with the development of the personality of a person as a whole.

The connection between imagination and speech is very complex. On the one hand, it is known that only a stable image can be described verbally. If the image is not clear enough, then when you try to describe it, it may fall apart. But with repeated reproduction of the image, verbalization, verbal description contributes to the fact that it is fixed, becomes more stable. Therefore, speech plays an important role in the creation of stable images. This applies to all images - perception, memory and imagination. On the other hand, the data of psychological research indicate that the development of the imagination does not depend on the development of speech, and a low level of speech development does not mean the poverty of the imagination. You can't judge a child's imagination based on what he talks about his fantasies. Difficulties in describing images, however, can complicate the child's play, study, and prevent him from getting rid of unnecessary fears. Therefore, it is necessary to develop the child's speech, to teach him to accurately describe what he imagines and what he experiences.

Without a sufficiently developed imagination, the student's educational work cannot proceed successfully.

Imagination is a cognitive process, and it is based on the analytical and synthetic activity of the human brain. Analysis helps to isolate individual parts and features of objects or phenomena, synthesis helps to combine them into new, hitherto unseen combinations. As a result, an image or a system of images is created in which reality is reflected by a person in a new, transformed, changed form and content.

The physiological basis of imagination is the formation of new combinations from temporary neural connections that have already been formed in the cerebral cortex.

Psychological mechanisms or techniques for creating images of the imagination

As already noted, in the images of the imagination there are always features of various images known to man. But in the new image they are transformed, changed, combined in unusual combinations. The essence of imagination lies in the ability to notice and highlight specific features and properties in objects and phenomena and transfer them to other objects. There are several psychological mechanisms or techniques for creating images of the imagination.

combination- a combination of individual elements of various images of objects in new, more or less unusual combinations.

But combining is a creative synthesis, and not a simple sum of already known parts, it is a process of essential transformation of the elements from which a new image is built. For example, A. S. Pushkin:

A special case of combination - agglutination(from lat. agglutinare- glue). This is a way to create a new image by connecting, gluing completely different objects or their properties - for example, a centaur, a dragon, a sphinx or a magic carpet: the ability of birds to fly was transferred to another object. This is a fabulous image - the conditions under which the carpet could fly are not taken into account. But the very imaginary transfer of the ability of birds to fly to other bodies is justified. Then they studied the conditions of flight and realized the dream - they invented the plane. In technology, these are snowmobiles, an amphibious tank, etc.

By combining the properties of one object are transferred to another. The details that are combined into a new image can also be given in words. This technique was used by the famous Italian storyteller G. Rodari, who came up with a special "fantasy bean". With the help of this binomial, you can learn to invent different stories and fairy tales.

"Binom" means "two parts". Two words are taken for the binomial. But it doesn't have to be any words. These should be words whose neighborhood would be unusual. Here is how J. Rodari writes about this: “It is necessary that a certain distance separates two words, that one is sufficiently alien to the other, that their proximity is unusual - only then the imagination will be forced to become more active, seeking to establish a relationship between the indicated words, to create a single, in this case, a fantastic whole ... "

J. Rodari compares the combinations "horse - dog" and "wardrobe - dog". In the first, from his point of view, "imagination remains indifferent." Quite another matter is the second combination. “This,” writes J. Rodari, “is a discovery, an invention, a stimulus.” This is the "fantasy bean".

accentuation- emphasizing the individual features of a person, creature, object. This technique is often used when drawing caricatures and friendly caricatures, exaggerating, sharpening individual features of the characters.

Emphasis manifests itself in several specific actions:

a) exaggeration- intentional emphasizing the features of the external appearance of a person, the qualities of an object;

b) hyperbolization- an exaggeration or miniaturization- an understatement (a boy with a finger, a giant, Thumbelina, the seven-headed Serpent Gorynych).

Exaggeration and exaggeration of individual features are often used in fairy tales and works of art. For example, the curious Pinocchio has a long nose. The hero of E. Rostand's play Cyrano de Bergerac also has a very large nose. This nose largely determines the character of the hero. Here's what one of the characters has to say about it:

These techniques are very widely used in a variety of human activities. For example, microcircuits were created in technology with the help of miniaturization, without which many modern devices would not be possible.

opposition- this is the endowment of an object, being with signs, properties that are opposite to the known ones. For inventors, this technique is called "do the opposite." For example, to make the immovable mobile. As in the fairy tale "At the command of the pike" - the stove starts to move. You can turn the bad into the good. With angina, for example, you can not eat anything cold. But sometimes patients with angina are specially given ice cream. It is possible to turn permanent attributes of an object into temporary ones and vice versa.

There is a famous problem that psychologists have given to many people. It was invented by psychologist K. Dunker. A person is given a scale with two bowls (an object is placed on one bowl, and weights are placed on the other), a set of various small objects, among them a box of matches and a candle. It is proposed to set the candle and other items on the scales so that at first the bowls are in an equal position, and after a while this balance is upset by itself.

Only a few of those who were offered this task were able to solve it, and even then only after prompting the experimenter.

What is the difficulty of this task? Usually, the object to be weighed is immediately placed on one scale pan, and they do not touch it anymore, and all attention is focused on the other scale pan, where different objects are placed - they are called weights - in order for the scale pans to align. These weights are added, removed, changed. This is how most of those who participated in these experiments acted. And few people guessed that it required "action in reverse" - to perform an action on an object that is being weighed. Simply put, light a candle that will burn out and its weight will decrease.

Reception "all the way around" is used in the vacuum cleaner. Typically, a vacuum cleaner sucks in air, and with it dust. But in some models, an operation is provided that allows the vacuum cleaner, on the contrary, to blow out air. Such vacuum cleaners are used for painting walls and ceilings.

Typing- highlighting the essential, repeating in homogeneous images.

This mechanism is often used when creating literary images - such character traits that characterize many people come to the fore. Typification is the most difficult way to create an image of creative imagination, it is a generalization and emotional richness of the image. M. Gorky wrote that those writers who are well versed in the methods of observation, comparison, selection of the most characteristic features of people and the inclusion of the "imagination" of these features in one person can be considered talented.

Knowledge of these techniques made it possible to control the creation of images. It made it possible to teach people to train their creative imagination, to come up with something new.

Types of imagination

Types of imagination differ in how deliberate, conscious is the creation of new images by a person. According to this criterion, there are:

1. Arbitrary, or active, imagination - the process of deliberate construction of images in accordance with a conscious plan, goal, intention.

It is this kind of imagination that needs to be specially developed.

2. Involuntary, or passive, imagination is the free, uncontrolled emergence of images. New images arise, as a rule, under the influence of little conscious or unconscious needs. Involuntary imagination operates when a person fantasizes or dreams without a specific goal, sleeps or dozes. Products of involuntary imagination are dreams, free fantasies, daydreams, fears, hallucinations.

Let us consider the types of imagination in more detail, paying special attention to the work of a psychologist and a teacher. Some of the proposed games and exercises can be used both in individual work with a child and in group classes. The latter cases are discussed further below. Most of the proposed exercises can be used when working with children 5-12 years old.

Arbitrary, active imagination, in turn, is divided into recreating and creative. The basis for this division is the originality, the uniqueness of the created images.

In those cases when the image created by a person, although it is subjectively new, but objectively reflects the already existing one, one speaks of a recreating imagination. For example, you can imagine a sandy desert or tropical forests, although you have never been there.

Creative imagination is the independent creation of new images.

Both recreative and creative imagination are very important for a person and must be developed.

Recreating, or reproductive, imagination is the construction of an image of an object, a phenomenon in accordance with its verbal description or according to a drawing, diagram, picture. The images that arise with the help of the recreative imagination already exist, they are already embodied in certain cultural objects. We sort of decipher signals, symbols, signs. For example, an engineer, considering a drawing (a system of lines on a sheet), restores the image of a machine that is “encrypted” with symbols.

When reading fiction and educational literature, when studying geographical, historical and other descriptions, it constantly turns out to be necessary to recreate with the help of fantasy what is said in these books, maps, stories. Any viewer, reader or listener must have a sufficiently developed recreative imagination to see and feel what the artist, writer, storyteller wanted to convey and express.

Recreative imagination begins to develop already at preschool age. Listening to fairy tales, the child vividly imagines their characters, and they seem to him absolutely real, he believes that they really exist. However, the most intensively recreating imagination develops in the process of schooling.

Already in the older groups of the kindergarten, and especially at primary school age, the child must be taught to create images according to a description or graphic image, to recreate the image of the whole based on the perception of its details or several parts.

Development of the ability to create images according to a verbal description

1. The game "Truth is fiction." Briefly describe a situation. The child must describe it in more detail and in such a way that it is clear whether this is true or fiction. For example, a child can describe the situation “The car was flashing its headlights” as a reality, talking about the car, its appearance, technical characteristics, etc., or maybe as a fantasy: “The car was flashing its headlights. So she told other cars in the garage about what she saw today.

2. Children are read a description of the appearance of a hero. It is proposed to draw this hero.

3. The game "Do as I do!". Two players sit at a table opposite each other. Before each of them - the same details of the designer. The older the players, the more details are used and the more diverse they can be. A screen is placed between the players, which does not allow you to see what exactly the partner is doing. As such a screen, you can, for example, use a cardboard folder. This game should be played with a child by an adult or older child who can describe well what he is doing. One of the players (senior) puts some figure out of the details, and then verbally describes it. The second player must collect the same figure according to the description. Then the screen is removed and the figures are compared.

4. The game "Guess what is drawn." This game is a variation of the previous one, but it can be played with a group of children, even with the whole class. For her, you need to prepare 2-3 drawings depicting various figures. For example, triangles, squares, circles with dots and lines inside, chains of different geometric shapes, groups of points, etc. Each drawing should show at least 3 shapes so that children can imagine the location of the shapes on the plane. The adult takes one of the drawings and accurately describes it. Children should imagine these figures and draw them on a piece of paper. After that, the drawing of an adult and what the children drew are compared. The children whose drawings most closely resemble the original win.

To develop the ability to create an image according to a verbal description, it is important to teach children, while reading a book, listening to a story, how best to imagine what you read, what you hear. Try as if in reality to see, hear, feel the taste, smell.

Development of the ability to create an image of the whole in its parts, details

1. The game "Guess where." This game is designed for younger children. For her, you need to prepare several pictures in duplicate. One picture from each pair remains intact, and the other is cut into pieces (depending on the age of the children, the number of pieces can vary from 4 to 32). At the same time, it is necessary to cut it so that it is quite difficult to imagine what exactly is depicted in a separate fragment.

During the game, whole pictures and cut pieces are laid out in front of the child. He is offered to guess which picture this or that piece is from.

For a child older than 5 years, the task becomes more complicated: he is told that, in addition to those pictures that lie in front of him, there was another one, but it was lost and the pieces may be from it.

2. The use of puzzles consisting of separate pieces (“puzzles”). In this case, the picture that needs to be collected is not shown to children.

3. The game "Guess the picture." For this game, you also need to prepare several drawings. From above, the drawing is closed with a sheet of paper with a small hole cut out in it (or several holes for younger children). The top sheet should be slightly larger than the picture. There are two versions of this game:

a) the child must guess what is shown, according to the detail of the picture, which is visible in the hole;

b) for a very short period of time (30 s - 1 min), the child can move the top sheet, moving the hole, and then give a detailed description of what is shown in the figure.

4. "Compose a figure from the elements." This exercise can be used both in individual work with a child and in work with a group of children. During individual work, the child is offered a picture on which a triangle, a circle, a rectangle, a trapezoid are drawn. It is proposed to make a face, a clown, a house, a cat, rain out of these figures. Each shape can be used any number of times, but you cannot add other shapes or lines. When working with a group, these figures are drawn on the board. The task material is shown in Figure 21.

Rice. 21.

For younger children, figures can be cut out and made into pictures. You can invite children to change the figures, add their own, come up with a whole picture, and then make up a story based on it.

5. Composing words from letters. Children are given a set of letters and are encouraged to make as many words as possible from these letters. This game can also be played in a group. For example:

For the development of the imagination, it is useful to consider and learn to read diagrams, drawings, maps.

Here is what the Russian writer K. Paustovsky wrote about this:

“...Even as a child, I developed a passion for geographical maps. I could sit on them for several hours, like a fascinating book.

I studied the currents of unknown rivers, whimsical sea coasts, penetrated into the depths of the taiga ... repeated, like poems, sonorous names - the Yugra ball and the Hebrides, Guadarrama and Inverness, Onega and the Cordillera.

Gradually, all these places came to life in my imagination with such clarity that it seems that I could write fictitious travel diaries to different continents and countries.

Development of the ability to recreate an image using a diagram, map, and other types of symbolic image

1. The game "Journey on a geographical map." Can be done with a group of children.

Each student is given a map - a tourist route scheme with the image of a river. Schematic images of cities, villages, railways, bridges, etc. are drawn along the banks of the river. Children are told: “You see, a ship is sailing along the river. Imagine that you are standing on the deck, looking at the shores. And about everything that you see and feel, please tell me.”

This technique can also be used to determine how the child's imagination and the ability to verbalize, describe verbally emerging images are developed.

Such stories are possible.

Children conscientiously list everything they see on the map, without adding anything from themselves, they don’t have any images:

Igor S .: “Well, I’m swimming ... ( Silent.) I see the coast. The houses are here. I see houses. I see the bridge. What else? Here is the bridge. I see the coast. The houses are here too shows), here stand ( shows). Everything here that is worth, I see.

There is no plot story, but the children tell a lot, sometimes very emotionally, freely imagine themselves sailing on a ship:

Petya G.: “It's summer here. Fresh air. The sun is shining. Forests around, groves. All sorts of stops, the ship stops at these stops.

Children give a coherent story about an imaginary journey. Such stories are emotional, colorful, imagination plays a big role in them, but it is constantly controlled by consciousness, which directs it in a certain direction:

Andrey A.: “I am sailing on a boat and I feel that I am swaying a little on the waves. Here the ship passes under the bridge - it gets a little dark, and then brightens again. The ship stops at stops, and then sails again. We sail past the forest and after that we go out into the sun again. And suddenly my ship floats into some small river. We swim along this river. And when the rivulet turns around, I again go to the wide river and swim along it. I sail past villages and small villages. I swim up to the railroad, and a train goes along it. When I pass under a bridge, it drives over me and makes a lot of noise.”

2. It is proposed to imagine and draw a dress according to its pattern given in the figure.

3. A drawing of the car is given. It is proposed to talk about how it looks, and then draw it.

4. The game "Find the hidden object." Two children or a child and an adult can play this game.

On the table or on the floor of the room, an area with roads, houses, a railway station, an airport, bridges, and parks is created from toys and other objects. After that, with the help of an adult or independently, the child draws a detailed map of this area. Then one of the players leaves the room, and the other hides an object in some place and marks this place on the map. After the child returns, he is given a map, according to which he must find the hidden object.

If a child plays with an adult, it is very important that he be in the role of a hider and a seeker.

5. "Designer". The exercise can be done in a group. Any constructor can serve as a material for it - building, mechanical, etc. Children are given details and a diagram of the product, according to which they must assemble a certain design (for young children, these can be familiar objects - a house, a swing, a car, for students 3— 6 classes - unfamiliar objects or abstract constructions).

Recreating imagination plays an important role in human life, it allows people to exchange experiences, without which life in society is unthinkable. It helps each of us to master the experience, knowledge and achievements of other people.

As already noted, creative imagination is the independent creation of new images that are realized in original products of activity.

Images are created without relying on a ready-made description or conditional image.

Creative imagination allows, bypassing the chain of conclusions, evidence, as if to see something completely new. Usually, when people talk about imagination, they most often mean creative imagination. It is closely related to creative thinking, but differs from it in that it operates not with the help of concepts and reasoning, but with the help of images. A person does not reason, but mentally sees what he did not see and did not know before, sees vividly, figuratively, in all details.

Creative imagination, fantasy are very important for artists, composers, writers, poets. The images they create are usually very colorful and strong, lively. This is how the Russian writer M. A. Bulgakov describes the process of creating a play in his Theatrical Novel: “Here it began to seem to me in the evenings that something colored was coming out of a white page. Looking closely, squinting, I was convinced that this was a picture. And what's more, the picture is not flat, but three-dimensional...

Over time, the camera in the book sounded. I distinctly heard the sounds of the piano...

You could play this game all your life, stare at the page...

And one night I decided to describe this magical chamber. How to describe it?

And it's very simple. What you see, then write, and what you do not see, you should not write. Here: the picture lights up, the picture is colored. I like her? Extremely. Therefore, I write: the first picture. I see the evening, the lamp is on. Lampshade fringe. The notes on the piano are open. They play Faust. Suddenly "Faust" stops, but the guitar starts playing. Who's playing? There he comes out the door with a guitar in his hand. I hear it sings. I write - sings.

The role of creative imagination is huge. New original works are being created that never existed. However, their characters are so vital, real, that you begin to treat them as if they were alive (remember Don Quixote, Andrei Bolkonsky, Natasha Rostov, Anna Karenina, Tatyana Larina, Grigory Melekhov, Vasily Terkin, the Turbin brothers ...).

Equally important is the creative imagination for scientists and inventors.

The biographers of the great physicist A. Einstein specifically emphasized that he thought mainly with the help of images and ideas, and words and complex mathematical calculations arose for him as a way of proving and expressing these vivid images. Einstein himself described his discoveries as a kind of game that combines sensory impressions, "muscle sensations", emotions and intuition. He spoke about how he came to create the theory of relativity: “These ideas did not come in words. I rarely think in words."

Games and exercises for the development of creative imagination

1. Unfinished figures. The task of drawing unfinished figures is one of the most popular in the study and development of imagination and creative abilities. So, for example, the task “Finish the drawing” is included as one of the subtests in the test of creativity by P. Torrens. You can invite the children to complete a similar task.

Children are given a sheet with the image of simple geometric shapes: a square, a circle, a triangle, a rhombus, etc. - and lines of various shapes: straight lines, broken lines, in the form of an arrow, zigzags, etc. (Fig. 22).

Rice. 22.

It is proposed to supplement each figure or line so that meaningful images are obtained. You can draw outside, inside the contour of the figure, you can turn the sheet in any direction.

2. The test of O. M. Dyachenko “Artist” belongs to the same type.

Children are given sheets of paper with figures drawn on them (circles, squares, triangles, various broken lines, etc.). All children should have the same set of figures. In 5-10 minutes, children should add anything they like to the figures so that they get object images.

The material for the task is shown in Figure 23.

Rice. 23.

Instruction: “Before you is a piece of paper divided into 8 parts. figures are drawn in each part of the sheet. The leaves with these figures were lost by the artist. He was going to draw pictures on the pieces of paper, but did not have time. And now the leaves have come to you. So now you are artists. You need to draw these figures and turn them into pictures so that there are no identical drawings. In each of the 8 parts of the sheet, the pictures should be different. Get started, please."

Children draw at a pace convenient for them, so they finish work at different times. When a child hands over a piece of paper, the psychologist always asks how each of the 8 drawings can be called, and signs its name under each picture. Sometimes children are called to write names for their pictures themselves.

This activity can also be used to explore the development of imagination. To do this, the task is evaluated in points:

0 points - did not draw anything;

1 point - stereotyped, primitive drawings, difficulty in verbalization when naming the picture;

2 points - simple, standard drawings with repetitions, difficulties in choosing names for some drawings;

3 points - complex, original drawings, good verbalization.

According to the survey conducted by I. M. Nikolskaya and G. L. Bardier using this task, children aged 6-7 received an average score of 1.83. Moreover, girls received an average of 2.1 points, boys - 1.6. This task was especially difficult for some boys - 16% of them could not complete it.

This technique is easy to turn into a game by selecting different sets of figures. The winner is the author of the most original drawings, those that have not been seen by other players.

3. The game "Magic blots". Before the game begins, several blots are made: a little ink or ink is poured into the middle of a sheet of paper and the sheet is folded in half. The sheet is then unfolded and the game can begin. The players take turns saying what kind of subject images they see in the blot or in its individual parts. Whoever names the most items wins.

4. The game "Fantastic hypotheses." It was invented by the world-famous storyteller J. Rodari. It can be used when working with a group of children.

In this game, the child must come up with different answers to the question: "What would happen if...?" For a question, you can take the first subject and predicate that come across. Let the subject be "city" and the predicate "fly". “What would happen if the city started to fly?”

For the game, you need to prepare 10 cards: 5 - with nouns and 5 - with verbs. For example, five table, telephone, traffic light, spoon, iron, and on the rest fly, invent, draw, dream, make friends. The cards are stacked in two. In one pile - nouns, in the other - verbs. Before each new round of the game, the cards in each of the piles are shuffled.

The player must, without looking, pull out one card from each pile and connect the received words with the question: “What would happen if ...?” For example, the word “iron” is pulled out from the first pile, and “dream” from the second. The child should ask the question: “What would happen if the iron began to dream?” and come up with as many answers as possible.

In the future, you can gradually increase the number of cards in each pile, change the words.

You can come up with many tasks of this type: for example, while walking: “Imagine that we are lost”, “Imagine that we are in intelligence”, “We are on a desert island”, “We have discovered an unknown planet”. Children readily and joyfully act out the story prompted by adults. He can only tactfully, carefully direct this violent fantasy, teach the guys to control their imagination, check with reality.

Younger schoolchildren and younger teenagers are happy to invent fairy tales. You can invite them to come up with a story according to a given plot, according to the beginning or end of the work, according to the picture; in particular, compositions based on a picture with some of its closed links help the development of creative imagination.

You can ask children to imagine that objects that are well known to them, things can feel, experience, talk, and offer to listen to the “talk” of things. What differences are observed in the imagination of children! Some things "tell" in their own name only what is known about this thing to the author of the work. So, their table “tells” about how it was a tree, which was then cut down, sawn into boards, etc. This table could “tell” other children about the people who eat, work, talk behind it.

5. "Come up with a continuation of the fairy tale." The exercise can be done with a group of children. This technique was proposed by the teacher M. Carne. An adult begins to tell a new fairy tale, unfamiliar to children. It is desirable that the hero of this fairy tale be a child of the same age as the listeners. At a critical moment in the hero's life, at the moment when something happened to him or he has to make a decision, the story is interrupted and the children are asked to come up with as many options as possible for what they would think or do in the place of the hero.

Then the adult asks a question about the consequences of what happened to the hero, his decision. It is important to encourage children to give as many answers as possible.

After that, the adult tells the end of the tale and invites the children to think about how else it could end.

The following characteristics stand out, which make it possible to judge that a child performing tasks of this type really fantasizes, is included in the creative process:

- the child formulates in detail and clearly new ideas that develop the plot;

- conducts an active dialogue with an adult, asks clarifying questions;

- gives a detailed description of the content and objects of the tale;

- introduces new heroes;

- changes the direction of the plot development;

- demonstrates a good memory;

- use gestures and facial expressions;

- exhibits a high level of speech activity.

6. Exercise "Completion of the story." Children are offered the beginning of a story. For example: “It was a clear sunny day. A girl walked along the street and led a funny puppy on a leash. Suddenly out of nowhere…”

7. Writing fairy tales, stories. Schoolchildren are invited to come up with a fairy tale or a story with some given character - a living creature (for example, a ballerina, a commander, a little fox crawling out of a hole) or an object (for example, a window, a computer or an old suitcase). The student must think of what will happen to this character, what this person, object or animal could tell about.

8. Composing a story in separate words. For example:

a) wind, sun, path, snow, streams, birds;

b) girl, tree, bird;

in) key, hat, boat, watchman, office, road, rain.

You need to make a coherent story or fairy tale using these words. Children can do this task in a group. Based on the results of its implementation, the teacher can learn about the features of the development of the imagination of schoolchildren.

For example, students of grade IV were asked to write an essay on the theme "Spring" and were given the words presented in paragraph "a". The words suggested a traditional description of spring.

Many children wrote like this: “Spring has come. The sun was already warming up. The breeze is gentle, not cold. The snow has already melted, and now cheerful streams are running. Sparrows bathe in puddles and streams. Migratory birds will soon arrive.

Everything that is usually said about the onset of spring has been said, all the words have been used - and nothing from myself, from a personal impression. Such compositions do not help the development of the imagination, but, on the contrary, contribute to the creation and consolidation of certain stamps. Such a "correct" composition should cause anxiety in the teacher, because it indicates the underdevelopment of the student's imagination.

In the writings of other children, both imagination and personal attitude were manifested.

For example: “The sun woke me up. I looked around, saw the blackened snow all around, saw how I sparkled with silver on this snow, and suddenly I thought: “Who am I?” While I was sleeping, I forgot about it. At this time, the wind picked up. I asked him: "Who am I?" But the wind did not answer, only laughed and flew on. Then I asked the path that ran next to me, but she also did not answer me. at this time, birds flying by landed and began to drink my water. "Who am I?" I asked them. "Do not you remember? the birds were surprised. - You are a brook. Look, there are many of your brothers around." I peered into the distance and saw many streams. I quickly ran to them, and we began to play.

When analyzing essays, it is important to consider:

- originality, unusual images of the imagination;

- the number of interesting ideas proposed by the child;

- emotionality, expression of personal attitude;

- detailing of images;

- the difficulties experienced by the child in compiling the story;

- speed of imagination (how long it takes a child to come up with an independent plot).

You can limit the time the children complete the task - 5-10 minutes.

9. The game "What does it look like?". The development of imagination is also facilitated by the development in children of the ability to understand metaphors and create new ones. Indeed, in order to understand a metaphor, and even more so to create it, it is necessary to learn how to transfer the properties of one object to another, to compare the properties of different objects.

To develop this skill, the child can be offered to explain what this or that metaphor, this or that proverb means. To do this, it is good to use the game "What does it look like?". This game can be played by multiple people. One is the leader. He leaves the room, and the others conceive some real person, character or object.

The driver must guess what exactly was intended by asking questions like: “What flower does this look like?”, “What weather does this look like?”, “What brand of car does this look like?” etc.

10. The game "Ridiculous" also consists in teaching children the understanding and interpretation of absurdities and inventing them on their own.

11. Game "Unusual use". Children are encouraged to imagine as many uses as they can for a known object (such as a large plastic water bottle or string). Such tasks are included in the test of creative thinking by J. Gilford.

12. Exercise "Musical instruments". Look at the things on the desk or in the briefcase and decide which of them can be used as musical instruments and played on them.

13. Exercise "Crafts". Make crafts using the same object in different functions (for example, a walnut shell as a boat, a tortoise shell, a hat, etc.).

A special place among the images of creative imagination is occupied by dream.

A dream is always directed to the future, to the prospects for the life and work of a particular person, personality. A dream allows you to plan the future and organize your behavior for its implementation. A person could not imagine the future (that is, something that does not yet exist) without imagination, without the ability to build a new image. Moreover, a dream is such a process of imagination, which is always aimed not just at the future, but at the desired future. In this sense, Plyushkin is an image of the creative imagination of N.V. Gogol, but not his dream. But the heroes of "Scarlet Sails" by A. Green - the writer's dream of people as he would like to see them.

A dream does not give an immediate objective product of activity, but is always an impetus to activity. K. G. Paustovsky said that the essence of a person is the dream that lives in everyone’s heart. “Nothing a person hides so deeply as his dream. Perhaps because she cannot bear the slightest ridicule, and certainly cannot bear the touch of indifferent hands. Only a like-minded person can believe his dream.

Images of this kind, like a dream, include ideals a person - images that serve him as models of life, behavior, relationships, activities. An ideal is an image in which the most valuable, significant traits and personality traits for a given person are presented. The ideal image expresses the tendency of personality development.

Each object, no matter how everyday and far from fantasy it may seem, is in one way or another the result of the work of the imagination. In this sense, we can say that any object made by human hands is a dream come true. The new generation uses the thing that their fathers dreamed about and created. A realized dream creates a new need, and it gives rise to a new dream. At first, each new achievement seems wonderful, but as it is mastered, people begin to dream of the best, more. So, on October 4, 1957, an artificial satellite appeared near the Earth.

The dream of K. E. Tsiolkovsky, the great dreamer of our time, who wrote that thought, fantasy, a fairy tale inevitably come first, followed by scientific calculation and, finally, execution. Before the appearance of the satellite, jet aviation arose, rockets took off into the stratosphere, studying its structure and composition, new heat-resistant alloys, new types of rocket fuel, etc. were created. Then a man flew into space - it was amazing and wonderful, but now everything got used to it, and people dream of flying to other planets.

However, a dream can also arise by itself, without a special purpose. In this case, it refers to images born of involuntary imagination.

As already noted, involuntary, passive imagination operates mainly when a person dreams about something in reality, when he sleeps or naps. Images in these cases are born, as it were, by themselves, unintentionally.

Involuntary imagination is also necessary for a person. After all, with its help you can be carried away in dreams very far, fantasize about anything. This is very interesting. We just need to remember to return to the ground in time.

Sometimes what a person sees in dreams or even in a dream strikes him so much that in reality he strives to achieve this dream. The dream passes from involuntary to arbitrary and vice versa.

Images of art, scientific discoveries, inventions often arise involuntarily, without intention, but then, thanks to work on them, they become a reality for all people.

Here is what the great composer W. A. Mozart wrote about this: “When I ... am alone with myself and in a good mood ... my ideas appear in the greatest quantity. Why and how this happens, I don't know. I can't force them. These moments of pleasure that make me happy, I keep in my memory. I got used, as I was advised, to hum them mentally. If I continue in this way, it soon occurs to me how to change this or that piece, how to make a good dish out of it, how to apply it ... to the characteristics of various instruments, etc.

It is necessary to distinguish groundless dreams, daydreams from dreams. dreams is a passive but deliberate imagination. These are dreams that are not connected with the will aimed at their fulfillment. People dream about something pleasant, joyful, tempting, and in dreams the connection between fantasy and needs and desires is clearly visible. Let us recall Manilov, the hero of N. V. Gogol's poem Dead Souls. Manilov uses dreams and fruitless reverie as a veil from the need to do something: here Manilov entered the room, sat down on a chair and indulged in reflection. His thoughts drifted imperceptibly to God knows where. “He thought about the well-being of a friendly life, about how nice it would be to live with a friend on the banks of some river, then a bridge began to be built across the river, then a huge house with such a high belvedere that you can even see Moscow from there and there drink tea in the evening in the open air and talk about some pleasant subjects.

One of the most interesting and mysterious images created by the involuntary imagination is dreams. In dreams, fragments of memories of the past are bizarrely combined, enter into unexpected, sometimes completely unbelievable combinations. The same thing can happen in a half-asleep, drowsy state. The well-known Russian physiologist I. M. Sechenov noted that dreams are "unprecedented combinations of experienced impressions." When a person sleeps, the activity of those areas of the cerebral cortex that are responsible for our conscious activity, control our impressions and ideas, slows down. When complete and deep inhibition occurs, sleep is deep, dreamless. But inhibition occurs unevenly, especially in the initial stage of sleep and in the last - before awakening. Dreams are caused by the work of a group of cells that have remained uninhibited. Very characteristic of dreams are:

- their sensual authenticity - when a person sees a dream, he often does not doubt for a minute that all this is happening to him in reality. Only after waking up, “shaking off” the dream, can he critically treat the dreamed fantasies. But even when he wakes up, he is often under the impression of a dream;

- incredible quirkiness, unusual connections and combinations of images;

- an explicit or hidden connection of dream images with the urgent needs of a person. For example, Tatyana writes to Onegin: "You appeared to me in my dreams." In love with Eugene, she constantly thinks about him, and now his image appears in a dream.

Despite sometimes all the fantasticness of dreams, they can only contain what was perceived by a person.

For example, the reason for dreams can be irritations that the body of a sleeping person receives: the blanket has moved - the legs are frozen, you may dream that you are freezing, that ice has broken under you, or that you are knee-deep in water and catch fish with nonsense. There can be many variations.

Sometimes the cause of a dream is the turbulent events that occurred during the day. The dream is dreaming, as it were, on the same topic, in continuation of these events.

In some cases, a dream can signal a disease. So, one woman was haunted by a dream for a long time: she ate raw or spoiled fish. During a medical examination, she had an acute form of gastritis.

And there are many different causes of dreams, which you can, if you are interested, learn from the special literature.

Sleep is a product of a healthy mind. All people see dreams. Recent studies have led scientists to believe that dreams are necessary for the normal functioning of our brain. If you deprive a person of dreams, this can lead to a mental disorder.

Involuntary imagination can cause various fears. Typical experiences of the child are reflected in the poem by S. Ya. Marshak “What was Petya afraid of?”:

Psychologists, educators and parents often have to deal with children's stories about nightmares. All people see such dreams from time to time, and in this case it is enough for the child to simply tell about it and convince him that the dream is not related to what is happening in reality.

Recurring nightmares and persistent daytime fears require much more attention. As special studies show, constant nightmares are a reflection of the child's real trouble - complex relationships, conflicts in the family, the child's real or imaginary failure, the inconsistency he experiences with the ideas of parents and teachers about how he should be. Therefore, in order to save a child from night fears, it is necessary first of all to establish his daily life, strengthen self-esteem, and increase self-confidence. It is often necessary to lower the requirements for the child, to treat him as if he were a year or even two younger.

To overcome persistent night and daytime fears, there are special psychotherapeutic techniques - special games and drawings. (You can read more about them in the book: Zakharov A. I. What our children dream about: How to get rid of fears. - St. Petersburg, 1997.)

However, involuntary imagination sometimes allows you to see the danger that can actually happen, and helps to avoid it.

Features of imagination in children of different ages

Imagination goes a long way of development. It arises in early childhood, scientists find its beginnings already in the second year of life, when the child begins to vary habitual actions and transfer them to other objects. For example, a child may craddle a doll first, then a bear, then a toy car, then a cube.

The role of imagination is especially noticeable in preschool age, in children's games. In the game, children take on different roles (pilot, driver, doctor, Baba Yaga, pirate, etc.). The need to build one's behavior in accordance with the role assumed requires the active work of the imagination. In addition, you need to imagine the missing items and the very situation of the game.

There is an opinion that the richest imagination is the imagination of a preschooler. However, it is not. The richness of the imagination depends on a person's life experience. A child has poorer experience than an adult, so he has less material for creating images of the imagination. But the child is not so constrained by conventions, he controls himself less, so he is more easily distracted from reality, one might say, “flies away” from it. In addition, the images of the child's imagination are often more emotionally rich than the images of the adult's imagination, and are more directly reflected in behavior.

Senior preschool and junior school age are qualified as the most favorable, sensitive for the development of creative imagination, fantasies. Games, conversations of children reflect the power of their imagination, one might even say, a riot of fantasy. In their stories and conversations, reality and fantasy are often mixed up, and the images of the imagination can, by virtue of the law of the emotional reality of the imagination, be experienced by children as quite real. The experience is so strong that the child feels the need to talk about it. Such fantasies (they are also found in adolescents) are often perceived by others as lies. Parents and teachers often turn to psychological consultations, alarmed by such manifestations of fantasy in children, which they regard as deceit. In such cases, the psychologist usually recommends that you analyze whether the child is pursuing any benefit with his story. If not (and most often it happens so), then we are dealing with fantasizing, inventing stories, and not with lies. This kind of storytelling is normal for kids. In these cases, it is useful for adults to join the children's game, to show that they like these stories, but precisely as manifestations of fantasy, a kind of game. Participating in such a game, sympathizing and empathizing with the child, an adult must clearly designate and show him the line between the game, fantasy and reality.

At primary school age, in addition, there is an active development of the recreative imagination.

In adolescence, the childish form of imagination is curtailed, and criticality to the products of one's own creativity and imagination increases. It is important to note that the curtailment of the child's form entails, for example, such consequences as a decrease in interest in drawing - only gifted children continue to draw (L. S. Vygotsky, 1968).

The representations of fantasy, the products of one's own imagination, precisely because the process of restructuring, the gradual differentiation of the imagination, is taking place, often become so real for the adolescent that he, as it were, involuntarily tries to bring them to life either in some specific activity, or in stories that make as if they were real. This is even connected with the development of a certain genre of teenage folklore, “tales”, in which both the narrator and the listeners both believe and understand their conventionality. They should be distinguished from cases of intentional lies, as well as from those cases when a schoolchild, without special intent, following a direct strong need to at least verbally realize his fantasy, sometimes even obeying some unconscious impulse, tries to pass it off as reality. In these cases, it is always important for a psychologist to understand the motive for such behavior.

During this period, a significant role is played by the dream. She is starting to take the place of the game more and more. It is still in many respects the external game, which is characteristic of previous periods of development, folded and transferred to the internal plan. As before, when playing, the child took on the role of a hero who can do much more than he can, so now, when dreaming, he sees himself free from those negative complexes, experiences, shortcomings that poison his life today. It is not for nothing that the tendency to daydreaming is described in the literature as the most typical feature of adolescence, although it often applies to early adolescence. The dream is extremely important for development, contributing to the "elevation of needs", creating ideal images of the "required future".

Without a sufficiently developed imagination, the student's educational work cannot proceed successfully. When reading works of fiction, the child mentally imagines what the author is talking about. Studying geography, he conjures up pictures of nature unfamiliar to him. Listening to stories through history, he imagines the people and events of the past and future.

The more the imagination participates in all the cognitive processes of the student, the more creative his educational activity will become.

If we want the educational activity to be creative, we must keep in mind the following. Any image created by the imagination is built from elements taken from reality and contained in the previous experience of man. Therefore, the richer the experience of a person, the more material that his imagination has at his disposal.

K. G. Paustovsky wrote that knowledge is organically connected with human imagination and the power of imagination increases with the growth of knowledge.

The main condition for the development of the child's imagination is its inclusion in a wide variety of activities. As the child develops, so does the imagination. The more the child has seen, heard and experienced, the more he knows, the more productive will be the activity of his imagination - the basis of any creative activity. Each child has imagination, fantasy, but they manifest themselves in different ways, depending on his individual characteristics.

First of all, children transform reality in their imagination with varying ease. Some are so constrained by the situation that any mental change of it presents significant difficulties for them. Sometimes a student cannot master the educational material just because he is not able to mentally imagine what the teacher is talking about or what is written in the textbook.

For other children, every situation is material for the activity of the imagination. When such a child is reproached for inattention in a lesson, he is not always to blame: he tries to listen, but a different life takes place in his head, images arise, perhaps brighter and more interesting than what the teacher tells about.

These features of the imagination of children must be taken into account. It is necessary to know not only how the student perceives the material, but also how this material is refracted in his imagination.

Imagination can be developed in different ways, but it is necessary in such an activity that, without imagination, cannot lead to the desired results. It is necessary not to force the imagination, but to captivate it.

Sculpting according to ready-made models, copying from a model, imitating the actions of adults is quite simple, but such tasks do not require imagination. It is much more difficult to teach children to see the most familiar things from an unexpected, new side, which is a necessary condition for creativity.

Of great importance for the development of the creative imagination of children are various circles: artistic, literary, technical, young naturalists.

The work of circles should be organized so that students see the result of their work, creativity. Here is the answer of one third-grader to the question of whether he liked the “Skillful Hands” circle: “No, it’s not interesting there. We made figures from plasticine and cardboard, and some other guys painted them. And we didn't see what happened."

It is also necessary to take into account such features of the imagination of students (and of different ages), which are clearly manifested when working on an essay.

For some children, a specific and clearly formulated topic is needed. Within this theme, they show both the ability to build a plot and imagination. They follow the theme as if they were following the course of a river, feeling the banks all the time and not going beyond them. The theme, as it were, forms, builds in a certain order their knowledge, images, impressions.

Such children often experience difficulties in writing an essay on a free topic - it is very difficult for them to come up with something, they cannot bring to life a single image.

Other children are hindered by hints, restrictions. If they write an essay on a given topic, they cannot begin it in any way: this topic does not come from them, it is imposed on them, someone else's. In the process of work, they deviate from the topic, expanding the set framework.

Such children begin to write compositions on a free topic immediately, as if they have a lot of ready-made plots and images in their heads.

The most common individual features of the imagination include:

- the degree of ease and difficulty with which a person is generally given the creation of images of the imagination;

- a characteristic of the created image itself: an absurdity or an original find of a solution;

- personal orientation - in which area it is brighter, new images are created faster.

It is good to involve parents in the work on developing the imagination of children.

You can invite them to think about how their child's fantasy is developed by completing the following questionnaire:

No. p / p	Question	Yes	Not
	Is your child interested in drawing?

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Ministry of Education and Science of the Russian Federation

GOU VOP Russian Pedagogical University. A.I. Herzen

Childhood Institute

Department of Pedagogy and Psychology of Primary Education

The development of imagination in primary school age

St. Petersburg

Introduction

3. Formative stage

Bibliography

Introduction

The problem of the development of abilities is not new for psychological and pedagogical research, but is still relevant. It is no secret that schools and parents are concerned about the development of students' abilities. Society is interested in the fact that a person starts working exactly where he can bring maximum benefit. And for this, the school must help pupils find their place in life. The problem of developing the imagination of children is relevant because in recent years society has faced the problem of preserving the intellectual potential of the nation, as well as the problem of developing and creating conditions for gifted people in our country, since this category of people is the main productive and creative force of progress.

In domestic psychology, research on the development of imagination in preschool children also occupies a significant place. Most authors associate the genesis of imagination with the development of the child’s play activity (A.N. Leontiev, D.B. Elkonin, etc.), as well as with the mastery of preschool children with activities traditionally considered “creative”: constructive, musical, visual, artistic - literary. S.L. Rubinshtein et al. devoted their research to studying the mechanisms of imagination. The basis for determining the characteristics of the creative activity of students of primary school age are the works of famous Russian teachers and psychologists A.S. Belkina, L.I. Bozhovich, L.S. Vygotsky, V.V. Davydova, V.A. Petrovsky, E.S. Polat and others. As studies by L.S. Vygotsky, V.V. Davydova, E.I. Ignatieva, S.L. Rubinstein, D.B. Elkonina, V.A. Krutetsky and others, imagination is not only a prerequisite for the effective assimilation of new knowledge by children, but is also a condition for the creative transformation of knowledge available to children, promotes self-development of the individual, i.e. largely determines the effectiveness of teaching and educational activities at school.

Thus, the imagination of children represents a huge potential for the realization of the reserves of an integrated approach in teaching and upbringing. And great opportunities for the development of creative imagination are represented by the visual activity of children.

The purpose of this work: to study the possibilities of developing the imagination of younger students. The object of the study is the process of developing the imagination of younger students. The subject is the development of the imagination of younger students.

To study and analyze the scientific and methodological literature and practical experience on the problem of imagination and creativity.

To identify the features of the creative imagination of younger students.

Find diagnostics that study the level of imagination of younger students

Hypothesis: the role of a primary school teacher in the development of imagination will be successful if he uses a system of exercises for the development of imagination, as a result of which the level of development of the imagination of children will increase significantly and in the future will contribute to an increase in the overall level of learning of younger students.

1. Theoretical aspects of the study of imagination

1.1 Imagination as a mental process

Imagination is one of the forms of mental reflection of the world. The most traditional point of view is the definition of imagination as a process (A.V. Petrovsky and M.G. Yaroshevsky, V.G. Kazakova and L.L. Kondratieva, etc.).

According to M.V. Gamezo and I.A. Domashenko: “Imagination is a mental process that consists in creating new images (representations) by processing the material of perceptions and representations obtained in previous experience.”

Domestic authors also consider this phenomenon as an ability (V.T. Kudryavtsev, L.S. Vygotsky) and as a specific activity (L.D. Stolyarenko, B.M. Teplov). Taking into account the complex functional structure, L.S. Vygotsky considered it appropriate to use the concept of a psychological system.

According to E.V. Ilyenkov, the traditional understanding of the imagination reflects only its derivative function. The main one - allows you to see what is, what lies before your eyes, that is, the main function of the imagination is the transformation of an optical phenomenon on the surface of the retina into an image of an external thing.

So, imagination is the process of transforming images in memory in order to create new ones that have never been perceived by a person before. The process of imagination is peculiar only to man and is a necessary condition for his labor activity. Imagination is always a certain departure from reality. But in any case, the source of imagination is objective reality.

Imagination functions Borovik O.V. The development of the imagination.

Presentation of activities in images and making it possible to use them in solving problems;

Regulation of emotional relationships;

Arbitrary regulation of cognitive processes and human states;

Formation of the inner plan of a person;

Planning and programming of human activity.

Human imagination is multifunctional. Among its most important functions, some scientists distinguish: Gamezo M.V., Domashenko I.A. Atlas of Psychology: Inform.-Method. Manual for the course "Human Psychology".

1) gnostic-heuristic - allows the imagination to find and express in images the most essential, significant aspects of reality;

2) protective - allows you to regulate the emotional state (satisfy needs, reduce stress, etc.);

3) communicative - involves communication either in the process of creating a product of the imagination, or when evaluating the result;

4) predictive - lies in the fact that the product of the imagination is the goal that the subject strives for.

Nemov noted that imagination includes the intellectual, emotional, behavioral experience of the subject and is included in various types of his activities. Nemov R.S. Psychology. In 3 books. Book 2.

Forms of expression of imagination Borovik O.V. The development of the imagination.

Building the image, means and final result of the activity.

Creation of a program of behavior in an uncertain situation.

Creation of images corresponding to the description of the object, etc.

Imagination representations are of 4 types:

Representations of what exists in reality, but which a person did not perceive before;

Representations of the historical past;

Representations of what will be in the future and what has never been in reality.

Forms of synthesis of representations in the processes of imagination

Agglutination - a combination of qualities, properties, parts of objects that are not connected in reality;

Hyperbolization or emphasis - an increase or decrease in an object, a change in the quality of its parts;

Sharpening - emphasizing any signs of objects;

Schematization - smoothing out differences in objects and identifying similarities between them;

Typification is the selection of the essential, recurring in homogeneous phenomena and its embodiment in a specific image.

Mechanisms of imagination: Subbotina L.Yu. Children's fantasies: Development of children's imagination.

Dissociation - dissection of a complex whole into parts;

Association - the union of dissociated elements.

There are different classifications of types of imagination:

Types of imagination according to L.S. Vygotsky: Vygotsky L.S. Pedagogical psychology.

Active

reproductive

passive

Productive

Types of imagination according to O. Borovik: Borovik O.V. The development of the imagination.

Active (or it is also called arbitrary) - the imagination is controlled by the efforts of the will. Images of passive imagination arise spontaneously, in addition to the desire of a person.

Recreating imagination is a representation of something new for a given person, based on a verbal description or a conditional image of this new one. Creative - imagination, giving new, original, first created images. The source of creativity is the social need for a particular new product. It also causes the emergence of a creative idea, a creative plan, which leads to the emergence of a new one.

Fantasy is a kind of imagination that gives images that do not correspond to reality. However, images of fantasy are never completely divorced from reality. It has been noticed that if any product of fantasy is decomposed into its constituent elements, then among them it will be difficult to find something that does not really exist. Dreams are a fantasy associated with desire, most often a somewhat idealized future. A dream differs from a dream in that it is more realistic and more connected with reality. Dreams are passive and involuntary forms of imagination in which many vital human needs are expressed. Hallucinations are fantastic visions, usually the result of mental disorders or disease states.

Types of imagination according to V.A. Morozov A.V. Morozov Business psychology. :

1. Involuntary (or passive), that is, images arise spontaneously, in addition to the will and desire of a person, without a predetermined goal, by themselves (for example, dreams).

The dissatisfaction of a material or spiritual need can involuntarily evoke in the mind a vivid representation of the situation in which this need could be satisfied. Feelings and emotional states that arise in a given situation can also be the cause of the appearance of images of involuntary imagination.

2. Arbitrary (or active) - using it, a person of his own free will, by an effort of will, causes himself to have appropriate images, makes his imagination work in order to solve his problems.

Arbitrary imagination is associated with the activity of the second signal system, with its ability to regulate the functions of the first signal system, which underlies, first of all, the figurative reflection of reality. The main forms of arbitrary imagination are:

a) recreating - the process of creating images based on personal experience, perception of speech, text, drawing, map, diagram, etc.;

b) creative - a more complex process - this is the independent creation of images of objects that do not yet exist in reality. Thanks to creative imagination, new, original images are born in various areas of life.

3. A dream - a kind of imagination - is a representation of the desired future. It can be helpful and harmful. A dream, if it is not connected with life, relaxes the will, reduces a person's activity, and slows down his development. She is empty. Such dreams are called dreams.

Having characterized imagination as a mental process, it is necessary to highlight the features of its development in primary school age. There are conditions conducive to finding a creative solution: observation, ease of combination, sensitivity to the manifestation of problems.

1.2 Development of imagination in ontogeny

The ability to imagine is not given from birth. Imagination develops with the accumulation of practical experience, the acquisition of knowledge, the improvement of all mental functions. In modern psychology, there are a large number of studies devoted to the development of imagination in ontogeny. The main subject of study was the age periods of development and the types of activities in which it developed. There are the following stages in the development of imagination:

The first stage (from 0 to 3 years) - the prerequisites for imagination are ideas that appear in the second year of life. A kid at the age of about one and a half years recognizes what is shown in the picture. Imagination helps to perceive a pictorial sign. It completes what does not quite correspond to the representation in memory. Upon recognition, the child does not create anything new. Therefore, imagination acts as a passive process. It exists within other mental processes; its foundation is laid in them. The child's ability to act in an imaginary situation with imaginary objects testifies to the first manifestations of imagination. The first imitative games that appear in the second year of life do not yet contain elements of the imagination. One of the reasons for the emergence of imagination is the psychological distance between the child and the adult, the child and the object of his desire. The child perceives the main actions of an adult, but reflects them in a generalized and conditional way, conveying only their meaning and external drawing Kataeva L.I. The study of cognitive processes of preschool children. .

The development of the initial forms of imagination in a young child is associated with the generalization of play actions and play objects, as well as with the fact that the repertoire of play actions firmly includes substitutions Kudryavtsev V.T. Child's imagination: nature and development. .

According to V.A. Skorobogatov and L.I. Konovalov's baby does not immediately respond to the substitution offered by an adult, but plays only with real toys. The turning point occurs when the child refuses to use any substitution offered by adults. The most important factor that provides the possibility of transferring meaning to other objects is the appearance of speech forms. Mastering speech leads to the fact that the first independent substitutions appear in the game. A new way of acting with objects as substitutes is emerging - the full use of substitutions. The choice of substitute subjects becomes conscious and is accompanied by detailed statements. Thus, creative elements are born in the play activities of young children. Against the background of interest in a new type of activity, the child quickly begins to deviate from the patterns of actions set by adults, introduces his own nuances into them. But imagination has a reproductive character.

The second stage (then 3 to 4 years) - the formation of verbal forms of imagination takes place. In the third year of life, the need for play activity becomes an independent need of the child, although it needs the support and encouragement of an adult. The main maintenance of the game is a detailed orientation in the subject side of human activity. This orientation begins with imitation of the actions of an adult and develops along the path of independent creative construction of images of action with objects, still based on real objects. Consequently, the indicators of the development of imagination in the game are: a variety of plots, action in an imaginary situation, independent choice of an object - a substitute, flexibility in changing the functions and names of objects, originality of the replacement of game actions, criticality to the partner's substitutions.

Affective imagination appears, associated with the child's awareness of his "I" and the separation of himself from other people. Imagination is already becoming an independent process.

The third stage (from 4 to 5 years) - at this age, creative manifestations in activities increase, primarily in the game, manual labor, storytelling and retelling. Dreams of the future appear. They are situationally, often not stable, due to events that caused an emotional response in the child. Imagination turns into a special intellectual activity aimed at transforming the surrounding world. The support for creating an image is not only a real object, but also representations expressed in a word. Imagination remains largely involuntary. The child does not yet know how to direct the activity of the imagination, but can already imagine the state of another person. The recreated images are differentiated, meaningful and emotional. Kataeva L.I. The study of cognitive processes of preschool children.

The fourth stage (from 6 to 7 years) - at this age, the imagination is active. The external support prompts the idea, and the child arbitrarily plans its implementation and selects the necessary means. There is an increase in the productivity of the imagination, this is manifested in the development of the ability to create an idea and plan for its achievement. The recreated images appear in various situations, being characterized by content and specificity. The child develops the ability to act in a figurative way, an internalized imagination arises, that is, it passes into the internal plan, the need for a visual support for creating images disappears. Creativity appears. At preschool age, a child develops a special inner position, and imagination is already becoming an independent process. Taking into account the fact that the imagination develops in different activities, the most productive in childhood are playing and drawing.

The fifth stage (from 7 to 11 years old) is a qualitatively new stage in the development of imagination in children. This is facilitated by a significant expansion of the amount of knowledge that the student receives in the learning process, the systematic mastery of a variety of skills and abilities that enrich and at the same time clarify, concretize the images of the imagination, determine their productivity. “Children of primary school age are not deprived of fantasy, which is at odds with reality. Which is even more typical for middle school students (cases of children's lies, etc.).

The realism of the imagination involves the creation of images that do not contradict reality, but are not necessarily a direct reproduction of everything perceived in life. The imagination of a younger student is also characterized by another feature - the presence of elements of reproduction, simple reproduction. This feature of the imagination is expressed in the fact that in their games children repeat the actions and positions that they observed in adults. They act out the stories that they experienced, saw in the cinema, reproducing the life of the school, family, etc. However, with age, the elements of reproduction become less and more and more creative processing of ideas appears.

At primary school age, verbal-cogitative imagination begins to develop, which constitutes, as it were, a new stage in the development of imagination. With the developing verbal-cogitative imagination, reliance on an object and even an action, if it takes place, is secondary, third-rate. Rogov E.I. Handbook of practical psychologist.

The sixth stage (from 12 to 17 years old) - the further development of the imagination of students is carried out not only in the classroom, but also in the process of creative activities in school circles, electives, and so on. At the stage of the student's creative activity, he must be supported and encouraged. The benevolent attitude of adults to the creative activities of the child, to the results of his creativity will serve as an incentive for further activation of creative activity.

The stages of the development of the imagination as an indirect function described here represent only the possibilities of each age, which are realized under natural conditions by a minority of children. Without special guidance, the development of the imagination can have unfavorable prognoses. Affective imagination without sufficient, usually spontaneous healing of traumas can lead to pathological experiences (obsessive fears, anxiety) or lead the child to complete autism, to the creation of a substitute imaginary life, and not real creative products. The culture of emotional life (the ability to empathize, sympathize), as well as the mastery of various other elements of culture, are only necessary conditions for the full development of a person's imagination.

Conclusion: thus, imagination is a special form of the human psyche, thanks to which a person creates, intelligently plans his activity and manages it.

The initial forms of imagination first appear at an early age in connection with the emergence of a role-playing game and the development of the sign-symbolic function of consciousness. Further development of the imagination goes in three directions. First, along the lines of expanding the range of items to be replaced and improving the replacement operation itself. Secondly, along the line of improving the operations of the recreating imagination. Thirdly, creative imagination develops. The development of the imagination is influenced by all types of activities, and in particular by drawing, playing, designing, reading fiction. Subbotina L.Yu. Children's fantasies: Development of children's imagination.

1.3 Features of the creative imagination of children of primary school age

In a child, the imagination is formed in the game and at first is inseparable from the perception of objects and the performance of game actions with them. In children of 6-7 years of age, the imagination can already rely on such objects that are not at all similar to the ones being replaced. Vygotsky L.S. Imagination and creativity in childhood.

Most children do not like very naturalistic toys, preferring symbolic, home-made, imaginative toys. Parents who so love to give their children huge bears and dolls often unwittingly hinder their development. They deprive them of the joy of independent discoveries in games. Children tend to like small, unimpressive toys - they are easier to adapt to different games. Large or “just like real” dolls and animals do little to stimulate the imagination. Children develop more intensively and get much more pleasure if the same stick plays the role of a gun, the role of a horse, and many other functions in various games. Thus, in L. Kassil’s book “Konduit and Shvambrania” a vivid description of the attitude of children to toys is given: “Turned lacquered figures represented unlimited possibilities of using them for the most diverse and tempting games ... Both queens were especially comfortable: the blonde and the brunette. Each queen could work for a Christmas tree, a cab driver, a Chinese pagoda, a flower pot on a stand, and a bishop.”

Gradually, the need for an external support (even in a symbolic figure) disappears and internalization occurs - a transition to a game action with an object that does not really exist, to a game transformation of an object, to giving it a new meaning and representing actions with it in the mind, without real action. This is the origin of imagination as a special mental process. Vygotsky L.S. Imagination and creativity in childhood.

In children of primary school age, the imagination has its own characteristics. The younger school age is characterized by the activation of the first recreating imagination, and then the creative one. The main line in its development lies in the subordination of the imagination to conscious intentions, i.e. it becomes arbitrary.

Here it should be noted that for a long time in psychology there was an assumption according to which the imagination is inherent in the child "initially" and is more productive in childhood, and with age it obeys the intellect and fades away. However, L.S. Vygotsky shows the untenability of such positions. All images of the imagination, no matter how bizarre they may seem, are based on ideas and impressions received in real life. And so the experience of a child is poorer than that of an adult. And one can hardly say that the child's imagination is richer. Just sometimes, not having enough experience, the child explains in his own way what he encounters in life, and these explanations often seem unexpected and original. Vygotsky L.S. Imagination and creativity in childhood.

The younger school age is qualified as the most favorable, sensitive for the development of creative imagination, fantasy. Games, conversations of children reflect the power of their imagination, one might even say, a riot of fantasy. In their stories and conversations, reality and fantasy are often mixed up, and the images of the imagination can, by virtue of the law of the emotional reality of the imagination, be experienced by children as quite real.

A feature of the imagination of younger students, manifested in educational activities, is initially based on perception (primary image), and not on representation (secondary image). For example, a teacher offers a task to children in a lesson that requires them to imagine a situation. It can be such a task: “A barge was sailing along the Volga and carried in holds ... kg of watermelons. There was pitching, and ... kg of watermelons burst. How many watermelons are left? Of course, such tasks start the process of imagination, but they need special tools (real objects, graphic images, layouts, diagrams), otherwise the child finds it difficult to advance in arbitrary actions of the imagination. In order to understand what happened in the watermelon holds, it is useful to give a sectional drawing of a barge.

According to L.F. Berzfai, a productive imagination must have the following features in order for the child to painlessly enter the school learning environment:

with the help of imagination, he must be able to reproduce the principles of the structure and development of things;

have the ability to see the whole before its parts, i.e. the ability to create a holistic image of any object;

the productive imagination of a child is characterized by “above situationality”, i.e. a tendency to constantly go beyond these conditions, to set new goals (which is the basis of the future ability and desire to learn, i.e. the basis of learning motivation);

mental experimentation with a thing and the ability to include an object in new contexts, and, consequently, the ability to find a method or principle of action.

The creativity of the child is determined by two factors: Subbotina L.Yu. Children's fantasies: Development of children's imagination.

subjective (development of anatomical and physiological features);

objective (the impact of the phenomena of the surrounding life).

The most vivid and free manifestation of the imagination of younger students can be observed in the game, in drawing, writing stories and fairy tales. In children's creativity, the manifestations of the imagination are diverse: some recreate reality, others create new fantastic images and situations. When writing stories, children can borrow plots known to them, stanzas of poems, graphic images, sometimes without noticing it at all. However, they often deliberately combine well-known plots, create new images, exaggerating certain aspects and qualities of their characters.

The tireless work of the imagination is an effective way for a child to learn and assimilate the world around him, an opportunity to go beyond personal practical experience, the most important psychological prerequisite for the development of a creative approach to the world.

2. Practical aspects of the study of imagination in children of primary school age

2.1 Methods for studying the imagination of younger students

To assess the development of imagination in primary school age, diagnostic techniques are used: Torrens Circles, Two Lines, Think of a Story, Unfinished Drawing, etc.

Method "Circles of Torrance" Khudik V.A. Psychological diagnostics of child development: research methods.

For children from 5 years old

(Evaluation of the ability of creative visual imagination)

A variant of the E. Torrens test may be a proposal to draw as many images as possible, using only circles or only triangles as their initial basis, etc.

Children are offered a sheet of paper, A4 format, where 25 circles are drawn, located on the sides of a 55 cm square. The subjects need to complete each circle to a complete image. Test time is limited to 5 minutes.

1. Fluency (number of images created) -- each drawing -- 1 point.

2. Flexibility (the number of used categories (classes) of depicted objects: nature, household items, science and technology, sports, decorative items (have no practical use), man, economy, universe) - 1 point for each category.

Standards: For 8-year-old children, the fluency of identifying groups of objects was 3.6 points; flexibility -14.6 points.

For children aged 10, the fluency of identifying groups of objects was 4.3--4.6 points; flexibility - 11.7 (boys), 14.3 (girls).

Technique "Verbal fantasy" (speech imagination) Subbotina L.Yu. We learn by playing. Educational games for children 5-10 years old.

The child is invited to come up with a story (story, fairy tale) about some living creature (person, animal) or about something else of the child's choice and present it orally within 5 minutes. Up to one minute is allotted for inventing a theme or plot of a story (story, fairy tale), and after that the child starts the story.

In the course of the story, the child's fantasy is evaluated on the following grounds:

speed of imagination processes;

unusualness, originality of images of the imagination;

richness of imagination;

depth and elaboration (detailing) of images;

impressionability, emotionality of images.

For each of these features, the story is evaluated from 0 to 2 points.

0 points are given when this feature is practically absent in the story. The story receives 1 point if this feature is present, but is relatively weakly expressed. The story earns 2 points when the corresponding feature is not only present, but also expressed quite strongly.

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

Unusualness, originality of images of the imagination is regarded in the following way:

If the child simply retold what he once heard from someone or saw somewhere, then on this basis he gets 0 points. If the child retells the known, but at the same time introduced something new from himself, then the originality of his imagination is estimated at 1 point. In the event that the child came up with something that he could not see or hear somewhere before, then the originality of his imagination gets a score of 2 points.

The richness of the child's fantasy is also manifested in the variety of images he uses. When evaluating this quality of imagination processes, the total number of different living beings, objects, situations and actions, various characteristics and signs attributed to all this in the child's story is fixed. If the total number of the named exceeds ten, then the child receives 2 points for the richness of fantasy. If the total number of parts of the specified type is between 6 and 9, then the child receives 1 point. If there are few signs in the story, but in general not less than five, then the richness of the child's fantasy is estimated at 0 points.

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

The child receives 0 points when the central object of the story is depicted very schematically.

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

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

The impressionability or emotionality of images of the imagination is assessed by whether it arouses interest and emotions in the listener.

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

1 point - the images of the story cause some interest on the part of the listener and some emotional response, but this interest, together with the corresponding reaction, soon fades away.

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

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

Methodology “Drawing” Vachkov I.V. Psychology of training work.

In this technique, the child is offered a standard sheet of paper and felt-tip pens (at least 6 different colors). The child is given the task to come up with and draw a picture. This takes 5 minutes.

The analysis of the picture and the evaluation of the child's fantasy in points were carried out in the same way as the analysis of oral creativity in the previous method, according to the same parameters and using the same protocol.

Sculpture technique. Vachkov I.V. Psychology of training work.

The child is offered a set of plasticine and the task, using it, in 5 minutes, to make some kind of craft, to mold it from plasticine.

The child's fantasies are evaluated according to approximately the same parameters as in the previous methods from 0 to 10 points.

0-1 point - for the 5 minutes allotted for work, the child could not think of anything and do it with his hands;

2-3 points - the child came up with and fashioned something very simple from plasticine, for example, a cube, a ball, a stick, a ring;

4-5 points - the child made a relatively simple craft, in which there are a small number of simple details, no more than two or three;

6-7 points - the child came up with something unusual, but at the same time not distinguished by the richness of fantasy;

8-9 points - the thing invented by the child is quite original, but not worked out in detail;

10 points - a child can get only if the thing invented by him is original enough, and worked out in detail, and has a good artistic taste.

Technique "Finishing Figures" Khudik VA Psychological diagnostics of child development: research methods.

Purpose: to study the originality of solving problems on the imagination.

Equipment: a set of twenty cards with figures drawn on them: an outline drawing of parts of objects, for example, a trunk with one branch, a circle-head with two ears, etc., simple geometric shapes (circle, square, triangle, etc. ), colored pencils, paper. Research order. The student needs to finish each of their figures so that a beautiful picture is obtained.

Processing and analysis of results. A quantitative assessment of the degree of originality is made by counting the number of images that were not repeated in the child and were not repeated in any of the children in the group. The same drawings are those in which different reference figures turned into the same element of the drawing.

The calculated coefficient of originality is correlated with one of the six types of problem solving on the imagination. Null type. It is characterized by the fact that the child has not yet accepted the task of building an image of the imagination using a given element. He does not finish drawing it, but draws something of his own side by side (free fantasy).

Type 1 - the child draws a figure on the card so that an image of a separate object (tree) is obtained, but the image is contour, schematic, devoid of details.

Type 2 - a separate object is also depicted, but with various details.

Type 3 - depicting a separate object, the child already includes it in some imaginary plot (not just a girl, but a girl doing exercises).

Type 4 - the child depicts several objects according to an imaginary plot (a girl walks with a dog).

Type 5 - a given figure is used in a qualitatively new way.

If in types 1-4 it acts as the main part of the picture that the child drew (circle-head), now the figure is included as one of the secondary elements to create an image of the imagination (the triangle is no longer a roof, but a pencil lead with which the boy draws a picture) .

The "As many names as possible" technique. Bityanova M.I. Workshop on psychological games with children and adolescents.

Children are offered various pictures, which depict not individual characters, but pictures containing plots. They can depict people, animals, plants, etc. It is possible to use the work of famous artists to develop the horizons of children. The child should carefully consider the picture, and come up with as many names as possible for it.

Methodology "Derivation of Consequences" Bityanova M.I. Workshop on psychological games with children and adolescents. (This game is used both in the development of creative imagination and verbal-logical thinking.) Children are asked a series of questions starting with the words "What happens if ...". The task of the child is to give as complete and original answers to the questions as possible.

List of sample questions:

“What will happen if the rain keeps on pouring?”

"What would happen if all the animals started to speak with a human voice?"

“What happens if all the mountains suddenly turn into sugar?”

“What will happen if all fairy tale characters come to life?”

“What would happen if people at a distance could read each other’s minds?”

"What happens if you grow wings?"

“What would happen if all the people on Earth became as light as feathers?” and etc.

Method "Wizards". Bityanova M.I. Workshop on psychological games with children and adolescents.

When evaluating a task, when it is proposed to draw "wizards" on their own, turning one into a good one into an evil one, the realism of the image (the degree of similarity to a given object) and its completeness (are all the given objects depicted, are distinctive features used when depicting individual objects) taken into account), his originality. It is necessary to evaluate each parameter and identify the level of development.

Evaluation of results.

Evaluation of the results of the child's drawing is made in points according to the following parameters:

10 points - in the allotted time, the child came up with and drew something original, unusual, clearly indicating an extraordinary fantasy, a rich imagination. Images and details are carefully worked out. The images are used in an original and witty combination.

8-9 points - the child came up with and drew something quite original, imaginative, emotional and colorful, although the image is not completely new. The details of the painting are well done. The image of the figures is used in a harmonious combination.

5-7 points - the child came up with something that, in general, is not new, but carries obvious elements of creative imagination. The details of the images of the drawing are worked out medium. An interesting image of both figures, the distinctive points are clear.

3-4 points - the child drew something simple, unoriginal, the fantasy is poorly visible and the details are not very well worked out. At least one required object is shown.

0-2 points - the child was able to draw only separate strokes and lines, or could not draw even one object.

Conclusions about the level of development:

10 points - very high.

8-9 points - high.

5-7 points - average.

3-4 points - low.

0-2 points - very low.

3. Formative stage.

The methods for assessing the development of the imagination of a child of primary school age through his stories, drawings, crafts were not chosen by chance. This choice corresponds to the three main types of thinking that a child of this age has: visual-effective, visual-figurative and verbal-logical. The child's fantasy is most fully manifested precisely in the corresponding types of creative activity.

Having carried out the appropriate methods and determined the level of development of imagination in children, we can distinguish 3 groups:

Group 1 - children whose imagination is poorly developed

Group 2 - children with an average level of imagination

Group 3 - children with a high level of imagination.

Based on this, children will be offered games and exercises in order to develop their imagination. These exercises can be carried out and applied both in the classroom and at home with parents.

For the experiment, you can take two classes, for example, 2 "a" and 2 "b", in the "a" and "b" classes, conduct a diagnosis to determine the level of development of the imagination. Calculate results. In the “b” class, leave everything as it is, and in the “a” class, conduct games and exercises aimed at developing the imagination for 2 months. At the end of the experiment, conduct a diagnostic test common to the two classes and determine how the exercises and games have affected, whether there have been changes.

Getting down to exercises and games for the development of imagination, we will define the principles for the development of creative thinking in younger students:

1. Before proceeding with the development of creative activity in children, they should form the necessary speech and thinking skills for this.

2. New concepts should be introduced only in familiar content.

4. The focus should be on mastering the meaning of the concept, and not the rules of grammar.

5. The child should be taught to look for a solution, considering, first of all, possible consequences, and not absolute merits.

6. Encourage children to express their own ideas about the problem being solved. Subbotina L.Yu. We learn by playing. Educational games for children 5-10 years old.

3. Formative stage

3.1 Exercises and games aimed at developing the imagination of children of primary school age

Various games and exercises can be used to develop imagination. Without a developed capacity for imagination, there can be no real creativity. It follows that the imagination must be developed.

Exercise number 1 "Fantastic image" L.Yu. Subbotina Subbotina L.Yu. We learn by playing. Educational games for children 5-10 years old.

Purpose: used to develop imagination, thinking.

Age: Suggested for all ages.

Stimulus material: cards with depicted elements.

The course of the exercise:

The child is offered cards with the image of individual elements. Instruction: “Your task is to build a fantastic image (creature, object) from these elements. Then describe what properties it has and how it can be used.

The more elements the created image includes, the more original it is, the brighter the child's imagination functions.

Exercise number 2 "Unfinished stories" L.Yu. Subbotina Subbotina L.Yu. We learn by playing. Educational games for children 5-10 years old.

Purpose: This exercise develops creative imagination.

Age: Recommended for children from 5 to 11 years old.

Stimulus material: text "Tricks of the squirrel"

Time: 10-15 minutes.

The course of the exercise behavior:

Instruction: “Now I will read you a very interesting story, but it will not have an ending. You must complete the story you started. The story is called "Squirrel Tricks".

Two girlfriends went into the forest and picked a basket full of nuts. They walk through the forest, and around the flowers, apparently - invisibly.

“Let's hang a basket on a tree, and pick flowers ourselves,” says one friend. " Okay!" - answers the other.

A basket is hanging on a tree, and the girls are picking flowers. She looked out of the hollow of a squirrel and saw a basket of nuts. Here, he thinks…”

The child must not only bring the plot to the end, but also take into account the title of the story.

Game No. 3 "Pantomime" L.Yu. Subbotina Subbotina L.Yu. We learn by playing. Educational games for children 5-10 years old.

Purpose: used to develop the imagination.

Age: 5 to 11 years old.

Time: 10-15 minutes.

Game progress:

A group of children become in a circle.

Instruction: “Children, now in turn, each of you will go to the middle of the circle and, with the help of pantomime, will show some action.

For example, imagine picking imaginary pears from a tree and putting them in a basket. At the same time, it is impossible to speak, everything is depicted only by movements.

The winners are determined by those children who most correctly depicted the pantomimic picture.

Game No. 4 "Internal cartoon" M.I. Bityanova Bityanova M.I. Workshop on psychological games with children and adolescents.

Stimulus material: the text of the story.

Running time: 10 minutes.

Game progress:

Instruction: “Now I will tell you a story, you listen carefully and imagine that you are watching a cartoon. When I stop, you will continue the story. Then you will stop and I will continue again. Summer. Morning. We are at the cottage. We left the house and went to the river. The sun is shining brightly, a pleasant light breeze is blowing"

Game number 5 "Draw the mood" M.I. Bityanova Bityanova M.I. Workshop on psychological games with children and adolescents.

Purpose: used to develop creative imagination.

Stimulus material: landscape sheet, watercolors, brushes.

Running time: 20 minutes.

Progress:

Instruction: “In front of you is paper and paints, draw your mood. Think about how sad or vice versa it is funny, or maybe something else? Draw it on paper in any way you like."

Game No. 6 "Tale in reverse" I.V. Vachkov Vachkov I.V. Psychology of training work. M.

Purpose: used to develop creative imagination.

Age: Used for children from 5 to 11 years old.

Stimulus material: heroes of favorite fairy tales.

Time: 10-15 minutes.

Progress:

Instructions: “Remember what is your favorite fairy tale? Tell it so that everything in it was “on the contrary”. The good hero became evil, and the evil hero became good-natured. The little one turned into a giant, and the giant into a dwarf."

Game number 7 "Combine the sentences" I.V. Vachkov Vachkov I.V. Psychology of training work. M.

Age: Used for children from 5 to 11 years old.

Stimulus material: unfinished sentences.

Time: 15-20 minutes.

Progress:

The child is offered three tasks in turn, in which it is necessary to combine two sentences into a coherent story.

Instruction: “Listen to two sentences, they need to be combined into a story. “There was a volcanic eruption far away on the island…” - “…that's why our cat was hungry today.”

"A truck drove down the street ..." - "... so Santa Claus had a green beard."

"Mom bought fish in the store ..." - "... so I had to light candles in the evening."

Game number 8 "Transformations" I.V. Vachkov Vachkov I.V. Psychology of training work. M

Purpose: used to develop a recreative imagination.

Age: Used for children from 5 to 13 years old.

Stimulus material: game images.

Time: 10-15 minutes.

Progress:

Children are invited to depict game images in motion.

Instructions: “Imagine that you have become a tiger wading through the jungle. Picture it in motion." After completing the task, the following is given: "robot", "eagle", "queen", "boiling pot".

Enough methods and techniques have been developed for the study of imagination. For each age, a certain set of psychological and diagnostic methods is used. To study the imagination of children of primary school age, you can use such techniques as: "Finishing figures", "Deriving consequences", "As many names as possible", etc.

Imagination can be developed using specially selected exercises and games: “Pantomime”, “Unfinished stories”, “Fantastic image” by L.Yu. Subbotina; "Inner Cartoon", "Draw the Mood", "What Does It Look Like?" M.I. Bityanova; “Tales on the contrary”, “Combine the sentences” by I.V. Vachkov.

Conclusion

Based on the results of the study, the following conclusions can be drawn. Imagination is the main driving force of the creative process of a person and plays a huge role in his entire life, since all human life is associated with creativity, from cooking to creating literary works or inventions. Imagination significantly expands and deepens the process of cognition. It plays a huge role in the transformation of the objective world.

As a result of the work, the goal of the study was achieved - we studied imagination as a psychological process. It was noted that imagination is a special form of the human psyche, thanks to which a person creates, intelligently plans his activity and manages it. Based on the study of psychological literature, the types of imagination were characterized:

1) arbitrary and involuntary;

2) recreative and creative;

3) dreams and fantasies.

We explored the functions that the imagination performs:

1) gnostic-heuristic;

2) protective;

3) communicative;

4) prognostic.

They noted that the activity of the imagination is carried out with the help of certain mechanisms: combination, emphasis, agglutination, hyperbolization, schematization, reconstruction.

Studied the stages of development of the imagination from an early age to senior school age. Conducted research on the study of the development of the imagination found the dependence of the imagination on the accumulated experience, the impressions received, as well as games and exercises.

We selected psychological methods for diagnosing the level of development of the imagination (on the example of primary school age), used the developments of E.P. Torrens, L.Yu. Subbotina, R.S. Nemov.

Described exercises, games that contribute to the development of the imagination of children of primary school age. Authors of games and exercises: I.V. Vachkov, M.I. Bityanova, L.Yu. Saturday.

Thus, the purpose of the work is achieved, the tasks are solved.

Bibliography

imagination learning student

1. Bityanova M.I. Workshop on psychological games with children and adolescents. M.: Genesis, 2001. 352 p.

2. Borovik O.V. The development of the imagination. M.: TsGL Ron LLC, 2002. 112 p.

3. Vachkov I.V. Psychology of training work. Moscow: Eksmo, 2007 416 p.

4. Vygotsky L.S. Pedagogical psychology M.: AST, Astrel, 2005. 672 p.

5. Vygotsky L.S. Imagination and creativity in childhood. St. Petersburg: Soyuz 1999, 305 p.

6. Gamezo M.V., Domashenko I.A. Atlas of Psychology: Inform.-Method. Manual for the course "Human Psychology". M.: Pedagogical Society of Russia, 2007. 276 p.

7. Kudryavtsev V.T. Imagination of a child: nature and development, // Psychological journal. 2001. No. 5.s. 57.

8. Nemov R.S. Psychology. In 3 books. Book 2. M.: Vlados, 2008. 107 p.

9. Poluyanov Yu.A. Imagination and ability. Moscow: Knowledge, 2003. 50 p.

10. Rubinstein S.L. Fundamentals of General Psychology. St. Petersburg: Piter, 2003. 712 p.

11. Subbotina L.Yu. Children's fantasies: Development of children's imagination. Yekaterinburg: U-Factoriya, 2005. 192 p.

12. Subbotina L.Yu. We learn by playing. Educational games for children 5-10 years old. Yekaterinburg: U-Factoria, 2005. 144 p.

13. Khudik V.A. Psychological diagnostics of child development: research methods. Kyiv: Ukraine, 2002. 423 p.

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Coursework on the topic:

"Features of the imagination of younger students"

Introduction

Chapter I Theoretical foundations of the characteristics of the imagination of younger students

1.1 Imagination as the highest mental function

1.2 Psychological characteristics of younger students

1.3 Features of the imagination of younger students

Chapter II Practical experimental work to identify the characteristics of the imagination of younger students

2.1 Diagnostic program for studying the characteristics of the imagination of younger students

2.2 Analysis of the results of the study of the characteristics of imagination in primary school age

2.3 The program for the development of imagination in younger students

Conclusion

Bibliography

Appendix

Introduction

The relevance of this course work lies in the fact that research on the problem of studying the features of the development of creative abilities, in particular, imagination, in children of primary school age lies in the fact that in modern sociocultural conditions, when there is a process of continuous reform, a radical change in all public institutions, skills thinking in an extraordinary way, creatively solving tasks, designing the intended end result acquire special significance.

A creatively thinking person is able to solve the tasks assigned to him faster and more economically, to overcome difficulties more effectively, to set new goals, to provide himself with greater freedom of choice and action, that is, in the final analysis, to most effectively organize his activities in solving the tasks set for him by society. It is a creative approach to business that is one of the conditions for educating an active life position of a person.

The prerequisites for further creative development and self-development of the individual are laid in childhood. In this regard, increased demands are placed on the initial stages of the formation of a child's personality, especially on the primary school stage, which largely determines its further development.

The problems of creativity and imagination have been widely developed in Russian psychology. Currently, researchers are searching for an integral indicator that characterizes a creative person. A great contribution to the development of problems of abilities, creative thinking was made by psychologists like B.M. Teplov, S.L. Rubinstein, B.G. Ananiev, N.S. Leites, V.A. Krutetsky, A.G. Kovalev, K.K. Platonov, A.M. Matyushkin, V.D. Shadrikov, Yu.D. Babaeva, V.N. Druzhinin, I.I. Ilyasov, V.I. Panov, I.V. Kalish, M.A. Cold, N.B. Shumakova, V.S. Yurkevich and others.

An object research - imagination as the highest mental function.

Thing research - features of the imagination of children of primary school age.

Target research - to identify the characteristics of the imagination of children of primary school age and propose a program for the development of imagination at this age.

Hypothesis: We assume that primary school students have specific features of imagination: for each child, reproductive imagination will prevail over productive one.

Tasks:

Conduct an analytical review of the literature on the research topic,

To reveal the concept of imagination and study the patterns of its development,

Compile and implement a diagnostic program to study the characteristics of the imagination of younger students,

To analyze the results of the study of the characteristics of the imagination of younger students,

Develop a program to develop the imagination of younger students.

Research methods:

Theoretical methods: analysis of scientific literature on the problem. Empirical methods: observation, testing, analysis of products of activity (creativity). Data processing method: qualitative and quantitative analysis of the research results. Presentation of research results: figures, tables.

Research base. School No. 52 in Tula (Zarechensky district, Oktyabrskaya st., 199), students of the 2nd grade in the amount of 14 people.

diagnosis imagination feature child

ChapterI. Theoretical foundations of the characteristics of the imagination of younger students

1.1 Imagination as the highest mental function

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

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

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

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

L.S. Vygotsky believes that “Imagination does not repeat impressions that have been accumulated before, but builds some new rows from previously accumulated impressions. Thus, introducing something new into our impressions and changing these impressions so that as a result a new, previously non-existent , constitutes the basis of that activity which we call imagination.

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

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

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

The image of the final result of real objective activity;

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

the image of a situation that resolves problems that are relevant to a given person, the real overcoming of which is not possible in the near future.

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

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

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

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

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

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

Imagination processes have an analytic-synthetic character. Its main tendency is the transformation of representations (images), which ultimately ensures the creation of a model of a situation that is obviously new, that has not arisen before. Analyzing the mechanism of imagination, it must be emphasized that its essence is the process of transforming ideas, creating new images based on existing ones. Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections.

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

Imagination and thinking are intertwined in such a way that it can be difficult to distinguish between them; both of these processes are involved in any creative activity, creativity is always subordinated to the creation of something new, unknown. Operating with existing knowledge in the process of fantasizing implies their mandatory inclusion in the system of new relationships, as a result of which new knowledge may arise. This shows: "... the circle closes... Cognition (thinking) stimulates the imagination (creating a transformation model), which (the model) is then verified and refined by thinking," writes A.D. Dudetsky.

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

Imagination can be of four main types:

Active imagination is a sign of a creative type of personality that constantly tests its inner capabilities, its knowledge is not static, but continuously recombines, leads to new results, giving the individual emotional reinforcement for new searches, the creation of new material and spiritual values. Her mental activity is supraconscious, intuitive.

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

The unreal world created by the individual is an attempt to replace unfulfilled hopes, make up for heavy losses, and ease mental trauma. This type of imagination indicates a deep intrapersonal conflict.

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

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

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

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

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

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

1.2 Psychologicalfeatures of younger students

Primary school age (from 6-7 to 9-10 years old) is determined by an important external circumstance in a child's life - admission to school.

A child entering school automatically occupies a completely new place in the system of human relations: he has permanent responsibilities associated with educational activities. Close adults, a teacher, even strangers communicate with the child not only as a unique person, but also as a person who has taken upon himself the obligation (whether voluntarily or under duress) to study, like all children at his age. The new social situation of development introduces the child into a strictly normalized world of relations and requires him to organize arbitrariness, responsible for discipline, for the development of performing actions associated with the acquisition of skills in educational activities, as well as for mental development. Thus, the new social situation of schooling toughens the child's living conditions and acts as a stressful one for him. Every child who enters school has increased mental tension. This is reflected not only in physical health, but also in the behavior of the child [Davydov 13., 1973].

Before school, the individual characteristics of the child could not interfere with his natural development, since these characteristics were accepted and taken into account by close people. The school standardizes the conditions of a child's life. The child will have to overcome the trials that have piled on him. In most cases, the child adapts himself to standard conditions. Education becomes the leading activity. In addition to assimilating special mental actions and actions serving writing, reading, drawing, labor, etc., the child, under the guidance of a teacher, begins to master the content of the main forms of human consciousness (science, art, morality, etc.) and learns to act in accordance with traditions and new people's social expectations.

According to the theory of L.S. Vygotsky, school age, like all ages, opens with a critical, or turning point, period, which was described in the literature earlier than others as a crisis of seven years. It has long been noted that in the transition from preschool to school age a child changes very sharply and becomes more difficult to educate than before. This is some kind of transitional stage - no longer a preschooler and not yet a schoolboy [Vygotsky L.S., 1998; p.5].

Recently, a number of studies devoted to this age have appeared. The results of the study can be schematically expressed as follows: a 7-year-old child is distinguished, first of all, by the loss of childish spontaneity. The immediate cause of childish immediacy is the lack of differentiation between inner and outer life. The child's experiences, desires and expression of desires, i.e. behavior and activity usually represent an insufficiently differentiated whole in the preschooler. The most significant feature of the crisis of seven years is usually called the beginning of differentiation of the inner and outer sides of the child's personality.

The loss of immediacy means the introduction into our actions of an intellectual moment that wedged between experience and immediate action, which is in direct contrast to the naive and direct action characteristic of the child. This does not mean that the crisis of seven years leads from direct, naive, undifferentiated experience to the extreme pole, but, indeed, in each experience, in each of its manifestations, a certain intellectual moment arises.

At the age of 7, we are dealing with the beginning of the emergence of such a structure of experience, when the child begins to understand what it means "I rejoice", "I am upset", "I am angry", "I am kind", "I am evil", i.e. . he has a meaningful orientation in his own experiences. Just as a three-year-old child discovers his relationship with other people, so a seven-year-old discovers the very fact of his experiences. Thanks to this, some of the features that characterize the crisis of seven years come to the fore.

Experiences acquire meaning (an angry child understands that he is angry), thanks to this, the child develops such new relationships with himself that were impossible before the generalization of experiences. As on a chessboard, when with each move completely new connections between the pieces arise, so here completely new connections between experiences arise when they acquire a certain meaning. Consequently, the whole character of the child's experiences is rebuilt by the age of 7, just as a chessboard is rebuilt when the child has learned to play chess.

By the time of the crisis of seven years, for the first time, a generalization of experiences, or an affective generalization, the logic of feelings, arises. There are deeply retarded children who experience failure at every turn: ordinary children play, an abnormal child tries to join them, but he is refused, he walks down the street and is laughed at. In a word, he loses at every turn. In each individual case, he has a reaction to his own insufficiency, and in a minute you look - he is completely pleased with himself. Thousands of individual failures, but no general feeling of low value, he does not generalize what has happened many times already. A generalization of feelings arises in a child of school age, i.e., if some situation happened to him many times, he develops an affective formation, the nature of which also relates to a single experience, or affect, as a concept relates to a single perception or memory . For example, a child of preschool age does not have real self-esteem, pride. The level of our requests to ourselves, to our success, to our position arises precisely in connection with the crisis of seven years.

A child of preschool age loves himself, but self-love as a generalized attitude towards himself, which remains the same in different situations, but self-esteem as such, but a generalized relationship to others and an understanding of his value in a child of this age is not. Consequently, by the age of 7, a number of complex formations arise, which lead to the fact that the difficulties of behavior change dramatically and radically, they are fundamentally different from the difficulties of preschool age.

Such neoplasms as pride, self-esteem remain, but the symptoms of the crisis (manipulation, antics) are transient. In the crisis of seven years, due to the fact that differentiation of the internal and external arises, that for the first time a meaningful experience arises, an acute struggle of experiences also arises. A child who does not know whether to take bigger or sweeter candies is not in a state of internal struggle, although he hesitates. Internal struggle (contradictions of experiences and choice of one's own experiences) becomes possible only now [Davydov V., 1973].

A characteristic feature of primary school age is emotional impressionability, responsiveness to everything bright, unusual, colorful. Monotonous, boring classes sharply reduce cognitive interest at this age and give rise to a negative attitude towards learning. Going to school makes a big difference in a child's life. A new period begins with new duties, with the systematic activity of teaching. The life position of the child has changed, which makes changes in the nature of his relations with others. The new circumstances of the life of a small schoolboy become the basis for such experiences that he did not have before.

Self-esteem, high or low, gives rise to a certain emotional well-being, causes self-confidence or disbelief in one's own strength, a feeling of anxiety, an experience of superiority over others, a state of sadness, sometimes envy. Self-esteem is not only high or low, but also adequate (corresponding to the true state of affairs) or inadequate. In the course of solving life problems (educational, everyday, gaming), under the influence of achievements and failures in the activities performed, the student may experience inadequate self-esteem - increased or decreased. It causes not only a certain emotional reaction, but often a long-term negatively colored emotional well-being.

Communicating, the child simultaneously reflects in the mind the qualities and properties of a communication partner, and also cognizes himself. However, now in pedagogical and social psychology the methodological foundations of the process of formation of younger schoolchildren as subjects of communication have not been developed. By this age, the basic block of psychological problems of the personality is structured and the mechanism of development of the subject of communication changes from imitative to reflexive [Lioznova E.V., 2002].

An important prerequisite for the development of a younger student as a subject of communication is the emergence in him, along with business communication, of a new extra-situational-personal form of communication. According to M.I. Lisina, this form begins to develop from the age of 6. The subject of such communication is a person [Lisina M.I., 1978]. The child asks the adult about his feelings and emotional states, and also tries to tell him about his relationships with peers, demanding from the adult an emotional response, empathy with his interpersonal problems.

1.3 Peculiaritiesimagination of younger students

The first images of the child's imagination are associated with the processes of perception and his play activity. A one and a half year old child is still not interested in listening to stories (fairy tales) of adults, since he still lacks the experience that generates perception processes. At the same time, one can observe how, in the imagination of a playing child, a suitcase, for example, turns into a train, a silent, indifferent to everything that happens, a doll into a crying little man offended by someone, a pillow into an affectionate friend. During the period of speech formation, the child uses his imagination even more actively in his games, because his life observations are sharply expanded. However, all this happens as if by itself, unintentionally.

Arbitrary forms of imagination "grow up" from 3 to 5 years. Imagination images can appear either as a reaction to an external stimulus (for example, at the request of others), or initiated by the child himself, while imaginary situations are often purposeful, with an ultimate goal and a pre-thought-out scenario.

The school period is characterized by the rapid development of the imagination, due to the intensive process of acquiring versatile knowledge and using it in practice.

Individual features of the imagination are clearly manifested in the process of creativity. In this sphere of human activity, imagination about significance is placed on a par with thinking. It is important that for the development of imagination it is necessary to create conditions for a person under which freedom of action, independence, initiative, and looseness are manifested.

It has been proven that imagination is closely connected with other mental processes (memory, thinking, attention, perception) that serve learning activities. Thus, not paying enough attention to the development of imagination, primary teachers reduce the quality of education.

In general, primary schoolchildren usually do not have any problems associated with the development of children's imagination, so almost all children who play a lot and in a variety of ways in preschool childhood have a well-developed and rich imagination. The main questions that in this area may still arise before the child and the teacher at the beginning of training relate to the connection between imagination and attention, the ability to regulate figurative representations through voluntary attention, as well as the assimilation of abstract concepts that can be imagined and presented to the child, as well as to an adult, hard enough.

Senior preschool and junior school age are qualified as the most favorable, sensitive for the development of creative imagination, fantasies. Games, conversations of children reflect the power of their imagination, one might even say, a riot of fantasy. In their stories and conversations, reality and fantasy are often mixed up, and the images of the imagination can, by virtue of the law of the emotional reality of the imagination, be experienced by children as quite real. The experience is so strong that the child feels the need to talk about it. Such fantasies (they are also found in adolescents) are often perceived by others as lies. Parents and teachers often turn to psychological counseling, alarmed by such manifestations of fantasy in children, which they regard as deceit. In such cases, the psychologist usually recommends that you analyze whether the child is pursuing any benefit with his story. If not (and most often it happens that way), then we are dealing with fantasizing, inventing stories, and not with lies. This kind of storytelling is normal for kids. In these cases, it is useful for adults to join the children's game, to show that they like these stories, but precisely as manifestations of fantasy, a kind of game. Participating in such a game, sympathizing and empathizing with the child, an adult must clearly designate and show him the line between the game, fantasy and reality.

At primary school age, in addition, there is an active development of the recreative imagination.

In children of primary school age, several types of imagination are distinguished. It can be recreative (creating an image of an object according to its description) and creative (creating new images that require the selection of material in accordance with the plan).

The main trend that occurs in the development of children's imagination is the transition to an increasingly correct and complete reflection of reality, the transition from a simple arbitrary combination of ideas to a logically reasoned combination. If a child of 3-4 years old is satisfied with two sticks laid crosswise for the image of an airplane, then at 7-8 years old he already needs an external resemblance to an airplane ("so that there are wings and a propeller"). A schoolboy at the age of 11-12 often designs a model himself and demands from it an even more complete resemblance to a real aircraft ("so that it would be just like a real one and would fly").

The question of the realism of children's imagination is connected with the question of the relation of the images that arise in children to reality. The realism of the child's imagination is manifested in all forms of activity available to him: in play, in visual activity, when listening to fairy tales, etc. In play, for example, a child's demands for credibility in a play situation increase with age.

Observations show that the child strives to depict well-known events truthfully, as happens in life. In many cases, the change in reality is caused by ignorance, the inability to coherently, consistently portray the events of life. The realism of the younger schoolchild's imagination is especially evident in the selection of game attributes. For a younger preschooler in the game, everything can be everything. Older preschoolers are already selecting material for the game according to the principles of external similarity.

The younger student also makes a strict selection of material suitable for play. This selection is carried out according to the principle of maximum closeness, from the point of view of the child, of this material to real objects, according to the principle of the possibility of performing real actions with it.

The obligatory and main protagonist of the game for schoolchildren in grades 1-2 is a doll. With it, you can perform any necessary "real" actions. She can be fed, dressed, she can express her feelings. It is even better to use a live kitten for this purpose, since you can already really feed it, put it to bed, etc.

The corrections to the situation and images made during the game by children of primary school age give the game and the images themselves imaginary features, bringing them closer and closer to reality.

A.G. Ruzskaya notes that children of primary school age are not deprived of fantasizing, which is at odds with reality, which is even more typical for schoolchildren (cases of children's lies, etc.). "Fantasying of this kind still plays a significant role and occupies a certain place in the life of a younger student. But, nevertheless, it is no longer a simple continuation of the fantasizing of a preschooler who himself believes in his fantasy as in reality. A 9-10 year old student already understands "conventionality" of one's fantasizing, its inconsistency with reality.

Concrete knowledge and fascinating fantastic images built on their basis coexist peacefully in the mind of a junior schoolchild. With age, the role of fantasy, divorced from reality, weakens, and the realism of children's imagination increases. However, the realism of a child's imagination, in particular the imagination of a younger schoolchild, must be distinguished from its other feature, close, but fundamentally different.

The realism of the imagination involves the creation of images that do not contradict reality, but are not necessarily a direct reproduction of everything perceived in life.

The imagination of a younger student is also characterized by another feature: the presence of elements of reproductive, simple reproduction. This feature of children's imagination is expressed in the fact that in their games, for example, they repeat the actions and situations that they observed in adults, play out stories that they experienced, which they saw in the cinema, reproducing the life of the school, family, etc. without changes. The theme of the game is the reproduction of impressions that took place in the lives of children; the storyline of the game is a reproduction of what was seen, experienced, and necessarily in the same sequence in which it took place in life.

However, with age, the elements of reproductive, simple reproduction in the imagination of a younger student become less and less, and more and more creative processing of ideas appears.

According to L.S. Vygotsky, a child of preschool and primary school age can imagine much less than an adult, but he trusts the products of his imagination more and controls them less, and therefore imagination in the everyday, "cultural sense of the word, i.e. something like what is real, imaginary, in a child, of course, more than in an adult.However, not only the material from which the imagination builds is poorer in a child than in an adult, but also the nature of the combinations that are added to this material, their quality and the variety is considerably inferior to the combinations of an adult.Of all the forms of connection with reality that we have listed above, the child's imagination, to the same extent as the adult's imagination, has only the first, namely, the reality of the elements from which it is built.

V.S. Mukhina notes that at primary school age, a child in his imagination can already create a variety of situations. Being formed in the game substitutions of some objects for others, the imagination passes into other types of activity.

In the process of educational activity of schoolchildren, which starts from living contemplation in the primary grades, the level of development of cognitive processes plays an important role, as psychologists note: attention, memory, perception, observation, imagination, memory, thinking. The development and improvement of the imagination will be more effective with purposeful work in this direction, which will entail the expansion of the cognitive abilities of children.

At primary school age, for the first time, there is a division of play and labor, that is, activities carried out for the sake of pleasure that the child will receive in the process of the activity itself and activities aimed at achieving an objectively significant and socially assessed result. This distinction between play and work, including educational work, is an important feature of school age.

The importance of imagination in primary school age is the highest and necessary human ability. However, it is this ability that needs special care in terms of development. And it develops especially intensively at the age of 5 to 15 years. And if this period of imagination is not specially developed, then a rapid decrease in the activity of this function occurs in the future.

Along with a decrease in a person’s ability to fantasize, a person becomes impoverished, the possibilities of creative thinking decrease, interest in art, science, and so on goes out.

Younger students carry out most of their vigorous activity with the help of imagination. Their games are the fruit of the wild work of fantasy, they are enthusiastically engaged in creative activities. The psychological basis of the latter is also creative

imagination. When, in the process of learning, children are faced with the need to comprehend abstract material and they need analogies, support with a general lack of life experience, imagination also comes to the aid of the child. Thus, the significance of the function of imagination in mental development is great.

However, fantasy, like any form of mental reflection, must have a positive direction of development. It should contribute to a better knowledge of the surrounding world, self-disclosure and self-improvement of the individual, and not develop into passive daydreaming, replacing real life with dreams. To accomplish this task, it is necessary to help the child use his imagination in the direction of progressive self-development, to enhance the cognitive activity of schoolchildren, in particular the development of theoretical, abstract thinking, attention, speech and creativity in general. Children of primary school age are very fond of doing art. It allows the child to reveal his personality in the most complete free form. All artistic activity is based on active imagination, creative thinking. These features provide the child with a new, unusual view of the world.

Thus, one cannot but agree with the conclusions of psychologists and researchers that imagination is one of the most important mental processes and the level of its development, especially in children of primary school age, largely depends on the success of mastering the school curriculum.

Chapter summary: so, we examined the concept of imagination, the types and features of its development in primary school age. In this regard, the following conclusions can be drawn:

The definition of imagination and the identification of the specifics of its development is one of the most difficult problems in psychology.

Imagination is a special form of the human psyche, standing apart from other mental processes and at the same time occupying an intermediate position between perception, thinking and memory.

Imagination can be of four main types:

Active imagination - is characterized by the fact that, using it, a person, at his own request, by an effort of will, causes appropriate images in himself.

Passive imagination lies in the fact that its images arise spontaneously, in addition to the will and desire of a person. Passive imagination can be unintentional and intentional.

There is also a distinction between the reproducing, or reproductive, and the transforming, or productive imagination.

Diagnostics of children of primary school age showed that the level of imagination development can be divided into three levels: high, medium and low.

ChapterII. Practical experimental work to identify the characteristics of the imagination of younger students

2.1 Diagnostic programresearch on the characteristics of the imagination of younger students

Purpose of the pilot study- in a practical way to identify the features of the development of the imagination of younger students.

The study involved younger schoolchildren - students of the 2nd grade of the secondary school No. 52 in Tula. Number of participants - 14 people. Among them, 7 boys and 7 girls, aged 7 to 9 years.

AT methods: observation, testing and analysis of products of children's creative activity.

AT The study included the following methods.

Method #1.A technique for studying the features of imagination based on the Torrens test "Incomplete figures".

Target: diagnosis of the development of imagination in children.

This technique allows you to fully study the features of the creative imagination of children and trace the specifics of this process. From the point of view of E. Torrens, the activity of creative imagination begins with the emergence of sensitivity to problems, shortcomings, missing elements, disharmony, etc., i.e. in conditions of lack of external information. In this case, the figures for drawing and the corresponding instruction provoke the appearance of such sensitivity and create an opportunity for a multi-valued solution to the task. According to the terminology of E. Torrens, difficulties are identified, conjectures arise or hypotheses are formed regarding the missing elements, these hypotheses are tested and rechecked, and their possible embodiment is manifested in the creation of diverse drawings. This technique activates the activity of the imagination, revealing one of its main properties - the vision of the whole before the parts. The child perceives the proposed test figures as parts of some integrity and completes, reconstructs them.

Methodology №2. "Test of divergence of thinking" (Gilford tasks).

Target: determination of the level of development of divergent thinking.

This test is aimed at studying creativity, creative thinking. Children are offered a task in which they need to find a use for an ordinary brick and a tin can. It is not just the total number of proposed options that is subject to evaluation, but only options that are fundamentally different in function or in the property used. For example, in the case of a brick - to build a residential house, a school, lay down a stove, build a fortress wall, close up a hole, and all similar answers, no matter how many there are, belong to the same category and receive one point. It is necessary that the answers use different properties of the brick. Brick is not only a building material. It has weight, can heat up and store heat or prevent heat, has coloring properties, and many others. All suggestions to use tin cans to carry water, store small items, feed cats, keep worms for fishing, etc., where the can is used as a container, also belong to the same function and are valued at one point. Points are awarded precisely for the variety of features and functions used.

Method #3."Solving Unusual Problems".

Target: determination of the level of development of imagination.

This technique is aimed at activating intentional passive imagination, because. Children are asked to describe the proposed situation.

Method No. 4. “ Hfour paper clips” (O.I. Motkov)

Target: determine the level of development of figurative imagination.

This technique is designed to study the processes of imagination. Children are offered a task in which they must use four paper clips to create a figure or some kind of composition, and then depict it on a blank sheet (A4). Each drawing must be signed.

Diagnostic program:

	The purpose of the methodology	Criterion under study
1. Methodology for studying the features of imagination based on the Torrens test "Incomplete figures"	diagnostics of the development of imagination in children	creative imagination
2. "Test of divergence of thinking" (Gilford tasks).	study of creativity, creative thinking	Creativity, creative thinking
3. "Solving unusual problems."	Determine the level of development of creative imagination	creative imagination
4. Four paper clips” (O.I. Motkov)	determine the level of development of figurative imagination	figurative imagination

2.2 Analysis of the results of the studyfeatures of imagination in primary school age

Method #1. methodology for studying the individual characteristics of the imagination (according to Torrens). The data of diagnostics of younger schoolchildren according to the first method are given in Table No. 1. Next, we will analyze the results of diagnostics according to the first method, we will make a percentage distribution by levels of imagination development based on the results of the first method:

Table number 1. Percentage distribution of children by levels of imagination development based on the results of the first method.

According to table No. 1, a graph was constructed that clearly reflects the difference in the level of imagination development in this group of children.

Picture 1. Distribution of children of the group according to the levels of imagination development according to the results of methodology No. 1

So, according to the results of this technique, most of the subjects were assigned to the second (6 hours) and third (5 hours) levels of imagination development, which corresponds to 42.84% and 35.7%.

The works of children assigned to the 2nd level of development of the imagination are characterized by a less schematic image, the appearance of a greater number of details both inside the main contour and outside it. The drawings of children of the 3rd level are characterized by the appearance of a "field of things" around the main image, i.e. object design of the environment.

Two children or 14.3% are assigned to the 4th level of imagination development. In the works, a widely developed subject environment is noted, the children, having turned the test figure into some kind of object, add more and more new elements to the drawing, organizing a holistic composition according to an imaginary plot. And, finally, one subject was assigned to the 5th level; the work is characterized by the repeated use of a given figure in the construction of a single semantic composition. Not a single child was assigned to the first and sixth levels. Method #2"Test of divergence of thinking" (Gilford tasks). The diagnostic data of younger schoolchildren according to the second method are given in Table No. 2. Next, we will analyze the results of diagnostics using the second method, and we will make up the percentage distribution by levels of development of creative thinking based on the results of the second method:

Table number 2 Percentage distribution of children by levels of development of creative thinking based on the results of the second method.

According to table No. 2, a graph was constructed that clearly reflects the difference in the level of development of creative thinking in this group of children.

Figure 2. The distribution of the children of the group according to the levels of development of creative thinking according to the results of methodology No. 2.

So, according to the results of this technique, most of the subjects (8 people) were classified as having a low level of development of creative thinking, which corresponds to 57.12%. 4 children or 28.6% belonged to the average level, and, accordingly, 2 students reached a high level of development of creative thinking (14.3%).

Method #3"Solving Unusual Problems"

The diagnostic data of younger schoolchildren according to the third method are given in Table No. 3. Next, we will analyze the results of diagnostics according to the third method, we will make a percentage distribution by levels of imagination development based on the results of the third method:

Table 3 Percentage distribution of children by levels of imagination development based on the results of the third method.

According to table No. 3, a graph was constructed that clearly reflects the difference in the level of imagination development in this group of children.

Figure 3 The distribution of the children of the group according to the levels of development of the imagination according to the results of methodology No. 3.

So, according to the results of this method, most of the subjects (10 people) were classified as having a high level of imagination development, which corresponds to 71.4%. 2 people each or 14.3% were classified as medium and low.

Method #4“Four paper clips” (O.I. Motkov)

The diagnostic data of younger schoolchildren according to the fourth method are given in Table No. 4. Next, we will analyze the results of diagnostics according to the fourth method, we will make a percentage distribution by levels of imagination development based on the results:

Table No. 4 Percentage distribution of children by levels of imagination development based on the results of the fourth method.

According to table No. 4, a graph was constructed that clearly reflects the difference in the level of imagination development in this group of children.

Figure 4 The distribution of the children of the group according to the levels of development of the imagination according to the results of methodology No. 4.

So, according to the results of this method, most of the subjects (10 people or 71.4%) are classified as having an average level of imagination development. Two students got into the first and third levels.

Conclusions from the results of the study

So, the features of the imagination of children of primary school age are as follows:

Based on the results of the E. Torrens test, we see that children of primary school age reach the 4th level of imagination development (2 people): a widely developed subject environment appears in the products of the creative activity of younger students, children add more and more new elements to the drawing, organizing a holistic composition according to an imaginary plot; as well as the 5th level of development of the imagination, one child reached: in the products of creative activity, the repeated use of a given figure when building a single semantic composition is already characteristic, and the possibility of repeated use of a test-figure as an external stimulus when creating an image of the imagination, indicates the plasticity of the imagination, more a high level of formation of its operational components;

Based on the results of the Guilford test, we found that children at this age have not yet formed divergent thinking - out of the total sample (14 people), 8 students did not cope with the task.

Based on the results obtained by the fourth method (4 paper clips), we found out that figurative imagination was developed at a high level in two people and in two people it was developed at a low level. Most of the sample, according to the results of the methodology, corresponds to the average level of development of figurative imagination.

Based on the results obtained by the results of the “solving unusual problems” methodology, we come to the conclusion that in children of this group, the level of imagination at a high level is developed in 10 people, which is 71.4% of the total sample.

Two people each belonged to the high and low levels.

2.3 Complex of games and exercisesaimed at developing imagination in children of primary school age

The purpose of the program: the development of imagination in children of primary school age.

Program objectives:

Forms and methods of conducting: exercises, games, assignments.

Lesson name (lesson number)	Purpose of the lesson	Time allotted for each lesson
1. exercise "UFO"	development of imagination, activation of attention, thinking and speech.	15-20 minutes for drawing
2.exercise "funny drawing"	Team building, emancipation of emotions, development of imagination.	Not limited
3. exercise "depict an animal"	Closure correction, imagination development	Not limited
4. exercise "looking into the future"	development of imagination, visual skills, activation of thinking and speech.	Not limited
5. task "a drawing of what cannot be"	development of imagination, creation of a positive emotional state, emancipation of children.	Not limited
6. game "sea and sky"	development of imagination, teaching children to express emotions	20-30 minutes
7. game "what will happen if ..."	imagination development	Not limited
8. game "self-portrait"	in a joking way, increase the ability of players to correlate the external characteristics and images of people with various professions, the development of imagination	From 20 minutes
9. game "sculpture"	Imagination development, teach children to control the muscles of the face, arms, legs, and relieve muscle tension	From 20 minutes
10. game "what did the bunny do?"	development of the emotional sphere.
11.game "braggart contest"	Developing imagination, increasing team cohesion

This course work can be used by teachers as a methodological material for studying the characteristics of children's imagination. If the teacher knows the features of imagination and creative thinking, knows in what period intensive development takes place, then he will be able to influence the correct development of these processes.

Of great importance for the development of creative imagination are circles: artistic, literary, technical. But the work of circles should be organized in such a way that students see the results of their work.

Portal for the student. Self-training

Ways of development of imagination in younger students. Coursework development of creative imagination in children of primary school age

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