Vygotsky continues his thought: "We will try to show all four basic forms that connect the activity of the imagination with reality." ibid.

He argues that the first and simplest form of connection between imagination and reality is that every creation of imagination is always built from elements taken from reality and contained in the previous experience of man. And here he discovers the first and most important law that obeys the activity of the imagination: "the creative activity of the imagination is directly dependent on the richness and diversity of the previous experience of a person, because this experience is the material from which constructions of fantasy are created" ibid.

Vygotsky believes that a child's imagination is poorer than that of an adult, and this is due to the poverty of his experience. He claims that imagination does not carry out any own perception or act of creating reality, in the sense of creating matter or the material of its images, but only assembles and combines the contents of the already existing human experience.

This position sometimes provoked criticism, the essence of which can be reduced to the following question: isn’t the “viewing” of sleep or mental manipulation with “ready-made” products of the imagination (new ideas, constructions, artistic products, etc.) a real and real human experience? Is not imagination itself an experience? And, therefore, is not imagination in this case a source of some kind of content also for itself? Is the imagination of a child really “poorer” than the imagination of an adult, and in what concrete sense does Vygotsky say this?

It should be noted that Vygotsky himself notes: “The result is a dual and mutual dependence of imagination and experience. If in the first case the imagination is based on experience, then in the second the experience itself is based on imagination ”ibid. Speaking about the "fourth form of connection between imagination and reality," he directly points out that when the products of imagination enter life as technical or artistic objects, experience begins to rely on them and operate with them, and the initial relationship between fantasy and experience is, as it were, inverted.

Vygotsky develops his idea of ​​various connections between imagination and reality (reality) as follows: “The second form of connection between fantasy and reality is a more complex connection, not between the elements of a fantastic construction and reality, but between the product of fantasy and some complex phenomenon of reality” ibid.

He explains his idea: on the basis of the study and stories of historians or travelers, one can form a picture of the Great French Revolution or the African desert, and in both cases the picture is the result of the creative activity of the imagination. It does not in any sense reproduce what was perceived by the subject in the previous experience, but is created from this experience thanks to fundamentally new combinations of the contents of this experience. If a person did not have many historical ideas, he could not create in his imagination a picture of the French Revolution.

“And a picture of a curved sea with a learned cat<у Пушкина>and the picture of the African desert, which I have not seen, is the essence of the same construction of the imagination. But the product of the imagination, the combination of these elements, in one case is unreal (fairy tale), in the other case, the connection of these elements, the very product of fantasy, and not just its elements, correspond to some phenomenon of reality. It is this connection of the final product of imagination with this or that real phenomenon that represents this second or higher form of connection between fantasy and reality ”ibid, Vygotsky believes.

He believes that only because the imagination does not work freely in these cases, but is guided by someone else's experience, and only because of this the following result can be obtained: the product of the imagination in a certain sense "coincides with reality." In this respect, he sees imagination as something that acquires a very important function in human behavior and development: it becomes a means of expanding human experience. Thanks to him, he can imagine what he has not seen, can imagine from someone else's story and description what was not in his direct personal experience.

Thus, a person is not limited to a narrow circle and narrow limits of his own experience, but can go far beyond their limits, assimilating with the help of imagination someone else's historical or social experience. In this form, imagination is an absolutely necessary condition for almost all mental activity of a person.

The third form of connection between the activities of the imagination and reality is the emotional connection. This connection manifests itself, according to Vygotsky, in two ways.

First, in states of grief or joy, we see everything with completely different eyes. When they say that a frightened crow is afraid of a bush, they mean the influence of our feelings, which colors the perception of external objects. For example, a person marks grief and mourning in black, joy in white, calmness in blue, rebellion in red, although in different cultures it can be in slightly different ways. Feeling selects individual elements of reality and experience and combines them into such a connection, which is conditioned from the inside by our mood, and not from the outside, by the logic of these images themselves.

Then Vygotsky quotes the French psychologist T. Ribot: “Representations,” says Ribot, “accompanied by the same affective state of reaction, are subsequently associated with each other, affective similarity connects and links dissimilar representations to each other.<…>, The images are mutually combined not because they were given together earlier, not because we perceive relations of similarity between them, but because they have a common affective tone ”ibid.

Impressions, or images that have a common emotional sign, tend to unite with each other, despite the fact that there is no connection between these images either by similarity, or by contiguity, or by any other logic.

Vygotsky reinforces Ribot's thesis and asserts: “Joy, sadness, love, hatred, surprise, boredom, pride, fatigue, etc. a sign or a label: for example, joyful, sad, erotic and others ”ibid.

Thus, the connection between imagination and reality can be represented:

1) as a connection between creativity and its material,

2) as a certain degree of correspondence of the products of the imagination to practical or mythological and artistic social experience,

3) as a relation to the reality of "united affect", that grouped complex of contents, which was formed in connection with the general "emotional tone".

Here Vygotsky turns to the question of the relationship between sleep and fantasies and reality uncontrollable by the intellect. Sleep and fantasy is regarded by him as a purely "emotional imagination".

A very interesting aspect of the topic is the appeal of L.S. Vygotsky on psychoanalytic topics. Although we cannot afford here a lengthy exposition of this attempt, we note that Vygotsky, in his notebooks, put it this way: “Freud considers consciousness in the light of the doctrine of the unconscious; we are the unconscious in the light of the doctrine of consciousness. Neither rediscover America nor consider it undiscovered; .. it is necessary to rebuild his facts and theories in a new whole "Cit. Po Zavershneva E.Yu. Vygotsky vs Freud: on rethinking psychoanalysis

from the point of view of cultural and historical psychology

about http://psyjournals.ru/files/84995/kip_2016_n4_zavershneva.pdf.

Speaking about dreams, Vygotsky believed that unification according to the basic emotional tone is very often represented in dreams or in dreams, because the imagination in a dream enjoys complete freedom and works at random, "at random." The explicit or latent influence of the emotional factor contributes to the emergence of completely unexpected groupings of impressions and sensations and presents an almost limitless space for new combinations.

In a certain sense, sleep and similar states and processes can be viewed as rudiments of "natural", natural "imagination." It is known that animals in a dream "run" and make other movements, growl and purr, as experiments show, their eyeballs move, pupils dilate and contract. There is reason to believe that many animals are quite capable of dreaming. This is an example of "natural imagination", which in its cultural and higher forms must be mediated, instrumental and symbolically processed. Probably, play is the way (or one of the ways) of such processing and mediation.

However, it should be borne in mind that even sleep in humans is also largely culturally mediated. It does not proceed like a mechanical or natural series of associations. It no longer exists outside of language, signs, outside of human-specific mental functions. However, it is not controlled by intellect and consciousness, imagination acts in a dream according to its own laws and in a certain respect it opposes socially productive, "useful" imagination.

In his work "The Imagination and Creativity of a Teenager," Vygotsky writes: "The most essential feature of fantasy in transitional age is its bifurcation into subjective and objective imagination. Strictly speaking, for the first time only in the transitional age, fantasy is formed.<…>The child does not yet have a strictly defined function of imagination. ”Vygotsky L.S. Imagination and creativity in childhood... - SPb .: SOYUZ, 1997 .-- 96 p. chapter I.). http://pedlib.ru/Books/7/0060/70060-1.shtml.

Speaking about “subjective” and “objective imagination,” Vygotsky notes the dual role of imagination in human behavior. It can lead and lead a person away from reality.<...>Departure into daydreaming, flight into an imaginary world often turns the strength and will of a teenager away from the real world.<...>this dual role of the imagination makes it a complex process that becomes extremely difficult to master.

According to Vygotsky, the adolescent's fantasy is, as it were, divided into two channels. On the one hand, she becomes at the service of the emotional life, needs, moods, feelings that overwhelm the teenager. The child does not hide his play, while the teenager hides his fantasies and hides them from others. The teenager hides them as the most intimate secret and is more willing to admit his misdeeds than to reveal his fantasies.

Along with this channel of fantasy, which serves primarily the emotional sphere of the adolescent, his fantasy also develops along a different channel - objective creativity. Where, in the process of understanding or in the process of practical activity, it is necessary to create some new concrete construction, a new image of reality, there fantasy comes to the fore as the main function.

After all, even in the lives of adults and respectable people, some of the most important discoveries were made in dreams. For example, it is known that D.I. Mendeleev saw his now famous table of elements in a dream, and Friedrich Burdakh dreamed of the idea of ​​blood circulation. The largest mathematician of India, Srinivasa Ramanujan, claimed that all his discoveries came to him in a dream from the Hindu goddess Namagiri. In his dreams, she wrote the equations herself. Soviet aircraft designer Oleg Antonov saw in a dream and after awakening he sketched the shape of the tail of the giant aircraft "Antey".

“It would be wrong to think that both channels in the development of fantasy in adolescence diverge sharply from each other. On the contrary, both concrete and abstract moments, as well as subjective and objective functions of fantasy, occur in adolescence, often in a complex interweaving with each other. Objective expression is colored in bright emotional tones, but subjective fantasies are often observed in the field of objective creativity. As an example of the convergence of both channels in the development of imagination, we could point out that it is in fantasies that a teenager first gropes for his life plan. ” , 1984. - T. 4. - S. 217-219., - notes Vygotsky.

Finally, Vygotsky comes to a fourth form of connection between fantasy and reality, which is different from the three listed above:

“The construction of a fantasy can be something essentially new, which has not existed in human experience and does not correspond to any really existing object; however, being embodied outside, having become a thing, it begins to really exist in the world and affect other things. This imagination becomes reality. An example of such a crystallized, or embodied, imagination can be any technical device, machine or tool. ”Vygotsky LS. Imagination and creativity in childhood. - SPb .: SOYUZ, 1997 .-- 96 p. chapter I.). http://pedlib.ru/Books/7/0060/70060-1.shtml

In this passage, Vygotsky gives one of the formulations that clarify the idea of ​​the unity of affect and intellect: “The striving of the imagination for embodiment is the true basis and the driving principle of creativity. Any construction of the imagination, proceeding from reality, seeks to describe a full circle and be embodied in reality ... The fact is that exactly when we have a full circle in front of us, described by the imagination, both factors - intellectual and emotional - are equally necessary for the act creativity ".

Of course, in addition to L.S. Vygotsky and many other authors.

There are, for example, classifications of types of imagination that claim to be more detailed than that of L.S. Vygotsky, systematic: "Imagination is distinguished into passive and active, involuntary and voluntary ... Active imagination includes artistic, creative, re-creating and anticipating" Krutetskiy V. A. Psychology: Textbook for students ped. schools - M .: Education, 1980.

It is well known that the works of many authors are devoted to the analysis of the cognitive and emotional imagination, and, of course, not only J. Piaget and T. Ribot, whom L.S. Vygotsky in his works.

Annotation for chapter 1. Creativity and imagination.

L.S.Vygotsky defines creative activity as “human activity that creates something new, no matter whether it will be some thing of the external world created by creative activity or a well-known construction of the mind or feeling that lives and is revealed only in the person himself” [p. 3].

Vygotsky says that all human activity can be divided into two types, which have their own characteristics: reproducing, or reproductive, and combining, or creative.

Reproductive activity is the preservation of a person's previous experience, ensuring his adaptation to habitual, stable conditions. environment... This activity is based on the plasticity of the human brain, which means the ability of a substance to change and maintain traces of this change.

The result of creative or combining behavior is not the reproduction of impressions or actions that have been in a person's experience, but the creation of new images or actions. The brain not only preserves and reproduces the previous experience of a person, but it also combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. Creative activity makes a person "a creature facing the future, creating it and modifying his present."

It is this creative activity based on the combining ability of the brain that is called imagination or fantasy in psychology. Imagination is the basis of all creative activity and manifests itself in all aspects of cultural life and makes artistic, scientific and technical creativity possible. Therefore, the everyday definition of imagination is not true, as everything that does not correspond to reality and cannot have any practical serious significance.

Creativity is not the lot of only a select few people, geniuses who created great works of art, made great scientific discoveries or invented some kind of improvement in the field of technology. Creativity exists wherever a person imagines, combines, changes and creates something new, no matter how small it may seem. A huge part of everything created by mankind belongs to the union of many grains of individual creativity.

Undoubtedly, the highest expressions of creativity remain the prerogative of geniuses, but creativity is a necessary condition for human existence in the everyday life around us, for the existence of everything that goes beyond the routine.

Creative processes are found already in early childhood - in the games of children, which always represent the creative processing of experienced impressions, their combination and the construction of a new reality from them that meets the needs and desires of the child himself. It is the ability to create a structure from the elements, to combine the old into new combinations that is the basis of creativity.

The roots of creative combination can also be found in the games of animals, which are often a product of the motor imagination, but these are only the beginnings of the creative imagination, which received their high development only in humans.

Annotation for chapter 2. Imagination and reality.

L.S. Vygotsky notes that creative activity does not arise immediately, but slowly and gradually, developing from simpler forms to more complex ones, and in each period of childhood it has its own form and then turns out to be directly dependent on other forms of our activity.

The essence of the first form is that any creation of the imagination is always built from elements taken from reality and contained in the previous experience of a person.

Scientific analysis of the most fantastic constructions (fairy tales, myths, legends, dreams, etc.) convinces that the most fantastic creatures represent a new combination of such elements that were gleaned from reality and were subjected to the distorting or processing activity of the imagination. Examples of this are a hut on chicken legs, a mermaid, a learned cat telling fairy tales.

Imagination is able to create new and new combinations, combining first the primary elements of reality (cat, chain, oak), then again combining the images of fantasy (mermaid, goblin), etc. The last elements, from which the fantastical idea that is most distant from reality is created, will always be impressions of reality.

Proceeding from the latter, Vygotsky formulates a law: the creative activity of the imagination is directly dependent on the richness and diversity of the previous human experience, because this experience is the material from which the constructions of fantasy are created. This means that the richer a person's experience, the more material his imagination has. That is why a child has a poorer imagination than an adult, despite his apparent external wealth.

From this, Vygotsky concludes that in order to create solid foundations for the child's creative activity, it is necessary to expand his experience.

Consequently, combining activity is only a further complication of preserving activity. Fantasy relies on memory, arranging its data in new combinations.

The essence of the second form is the connection between the finished product of fantasy and some complex reality.

Explaining this position, Vygotsky gives an example when, according to the stories of historians or travelers, one can imagine a picture of the Great French Revolution or the African desert. Here, the creative activity of the imagination does not reproduce what was perceived in the previous experience, but creates new combinations from this experience, modifying and reworking the elements of reality, relying on already existing ideas.

Thanks to this, imagination becomes a means of expanding a person's experience, because he can imagine what he has not seen, he can go far beyond his own experience, assimilating with the help of imagination someone else's historical or social experience. Here, experience is based on imagination.

The essence of the third form is the emotional connection between the activities of the imagination and reality.

This connection, on the one hand, is manifested in the fact that every emotion seeks to be embodied in images corresponding to this particular feeling, “picking up” impressions, thoughts and images that are consonant with the momentary mood that dominates us. Every feeling has not only an external expression, but also an internal one, which is reflected in the selection of thoughts, images and impressions, which is the law of the double expression of feelings. Fantasy images serve as an internal expression of our feelings, give the internal language of our feelings.

Feeling selects individual elements of reality and combines them into such a connection, which is conditioned from within by our mood, by the logic of the images themselves. Taking this feature into account, psychologists have identified the law of a common emotional sign, when impressions or images that have a common emotional sign, i.e. producing a similar emotional impact tend to unite with each other without any obvious connection by similarity or contiguity.

But, on the other hand, there is also a feedback - when imagination affects feelings. This is called the law of the emotional reality of the imagination. Any construction of fantasy affects feelings: the construction itself may not exist in reality or not correspond to it (as in illusions), but the feeling it evokes is actually experienced by a person, captures him.

Those emotions that are evoked by artistic fantasy images from books or theatrical performances are completely real and are experienced truly deeply and seriously. Psychological basis this is the expansion, deepening and creative restructuring of the feeling.

The fourth form is that fantasy, embodied in things, begins to really exist.

The construction of a fantasy can be something completely new that has not been in the experience of a person and does not correspond to a really existing object, but, being embodied in things, it begins to really exist and affect other things (various technical devices, machines or tools).

Such products of the imagination go through a certain circle of their development: first, elements taken from reality undergo complex processing and turn into products of the imagination, after which they are embodied and return, thus, to reality, but already as a new active force that changes this reality.

Such a circle can be described by the imagination. And here, for the act of creativity, both the intellectual and the emotional factor are involved, since human creativity is driven by both thought and feeling, where thought gives feeling flesh and consistency.

Vygotsky also notes that works of art can have an impact on the public consciousness of people due to the fact that they have their own internal logic. The images of fantasy are not combined by chance, as in dreams or dreams, but follow their internal logic, which is due to the connection established by the work between its own and the external world.

In works of art, distant and outwardly unrelated features are often combined, but not extraneous to each other, but connected by internal logic.

Annotation for chapter 3. The mechanism of creative imagination.

The creative process includes three main stages: the accumulation of material, the processing of the accumulated material (dissociation and association of impressions) and the combination of individual images, bringing them into a system, and building a complex picture.

The accumulation of material includes external and internal perception, which is the basis of creativity. This is what the child sees and hears.

The processing of accumulated material includes the dissociation of perceived impressions and association.

In the process of dissociation, the impression, as a complex whole, is divided into parts, individual parts stand out predominantly in comparison with others and are preserved, others are forgotten.

The ability to highlight the individual features of a complex whole is important for all creative work of a person on impressions. Dissociation is followed by a process of change, a process of exaggerating and diminishing individual elements of impressions, characteristic of the imagination of both children and adults.

Exaggeration, due to the child's interest in the outstanding and extraordinary, arousing a sense of pride, associated with the imaginary possession of something special, allows the child to exercise in operating with quantities that were not in his experience. And this operating with quantities - smaller or larger - has allowed humanity to create astronomy, geology, physics, chemistry.

An association is an amalgamation of dissociated and altered elements, occurring on a different basis and taking different forms from the purely subjective to the objectively scientific.

The course of the listed processes (stages) of creative imagination depends on several basic psychological factors.

The first factor is a person's need to adapt to the environment. Vygotsky writes: “The basis of creativity is always an inability, from which needs, aspirations and desires arise” [pp. 23-24].

It is the needs or aspirations that set in motion the process of imagination and provide the material for its work.

Other obvious factors Vygotsky includes experience, needs and interests in which these needs are expressed, combinatorial ability and exercise in this activity, the embodiment of the products of imagination in material form, technical skill, traditions, etc.

Another, little obvious, but important factor is the environmental factor. Outwardly, it seems that the imagination is guided only by the feelings and needs of a person, does not depend on external conditions and is due to subjective reasons. But the psychological law says that the desire for creativity is always inversely proportional to the simplicity of the environment. An invention or scientific discovery appears only when the necessary material and psychological conditions are created. Creativity is a historically successive process, where each subsequent form is determined by the previous ones. That is why there are more different inventors in the privileged classes.

Annotation for chapter 4. Imagination of a child and adolescent.

The activity of the creative imagination depends on a number of different factors that take on different forms at different age periods: the experience, environment and interests of the child differ from those of the adult.

It is believed that a child has a richer imagination than an adult, and that as the child develops, the power of fantasy and imagination wanes. This was the result of the following ideas: children's fantasy is undemanding and unpretentious, in contrast to the fantasy of an adult; the child lives more in a fantasy world, he is characterized by a love of fairy tales, exaggeration and distortion of real experience.

However, it is known that a child's experience is poorer, his interests are simpler, more elementary, his relationship with the environment does not have the same complexity, subtlety and diversity as an adult's. Consequently, a child's imagination is poorer than that of an adult. It develops in the process of a child's development and only in an adult reaches its maturity.

Imagination begins to mature as it approaches maturity: in adolescence, a powerful rise of imagination and the beginning of the maturation of fantasy are combined. Vygotsky says that there is a close connection between puberty and the development of the imagination. In a teenager, his accumulated experience is summed up, constant interests ripen, the activity of his imagination is finally shaped against the background of general maturation.

The basic law of the development of imagination is formulated by Vygotsky as follows: imagination passes through two periods in its development, separated by a critical phase.

In childhood, the development of the imagination and the development of the mind are very different, and it is the independence of the child's imagination from the activity of the mind that is the expression of the poverty of the child's fantasy. A child can imagine much less than an adult, he trusts the products of his imagination and controls them less, he has a poorer character of combinations of elements of reality, their quality and variety. The child has only two forms of connection between imagination and reality: the reality of the elements and the reality of the emotional basis of imagination. The rest of the forms develop only over the years.

The turning point in the development of imagination is adolescence, after which imagination and reason are closely connected. The activity of the imagination adapts to rational conditions and becomes mixed. However, for many, the creative imagination declines under the influence of the "prose of life", but it does not disappear completely, but becomes an accident.

The critical period in the development of imagination coincides with adolescence. Here the imagination is transformed from subjective to objective. The reason for this, from a physiological point of view, is the formation of an adult organism and an adult brain, and from a psychological point of view, the antagonism between "the subjectivity of the imagination and the objectivity of rational processes", i.e. "Instability and stability of the mind." Like the critical age itself, imagination during this period is characterized by a turning point, destruction and the search for a new balance. The manifestations of the activity of the imagination of childhood are curtailed under the influence of a critical attitude towards the products of this activity: most adolescents stop drawing, they lose interest in naive games of an earlier age, fantastic fairy tales and stories. But the form of activity of the imagination is literary creativity - the writing of poems and stories, which is stimulated by a strong rise in subjective experiences, the deepening of intimate life, the formation of one's inner world, and over time it also declines under the influence of the same critical attitude. Thus, the critical phase is characterized by the rise and deep transformation of the imagination.

In the critical phase, two types of imagination stand out:

1. plastic, or external, which uses data from external impressions, builds from elements borrowed from the outside, and
2. emotional, or internal, building from elements taken from within. The former can be considered objective and the latter subjective.

Vygotsky points out the dual role of imagination in human behavior, expressed in the fact that it can both lead and lead a person away from reality; it can be the source of great theories, and it can also repel from reality, inclining to accept their fantasies as proven truths.

When asked about the dependence of the activity of the imagination on giftedness, Vygotsky replies that from a psychological point of view, creativity as the creation of something new is a normal and constant companion child development and is inherent in all to a greater or lesser extent. Moreover, there is a rule according to which geeks lose their talent as they mature. Of course, giftedness and talent are manifested in early age, but these are only the makings of future genius, from which it is still very far from genuine great creativity.

Annotation for chapter 5. "The pangs of creativity."

It is difficult to create, because the need for creativity does not always coincide with its capabilities, which gives rise to an excruciating feeling of suffering. Creativity is often associated with the experience of the simultaneity of the desire to express your feeling in a word, to infect another person with it and the feeling of the impossibility to do so.

It is the striving of the imagination for embodiment, as its most important feature, that is the basis and the driving principle of creativity.

Imagination strives to become creative: effective, active and transforming what the activity of this imagination is directed to; his constructions strive to be realized.

Vygotsky shares dreaminess and creative imagination: “With his normal and full form the will ends in action, but for people who are indecisive and weak-willed, vacillations never end, or the decision remains unfulfilled, unable to be realized and confirmed in practice. Creative imagination in its full form seeks to confirm itself outwardly by such a deed that exists not only for the creator himself, but also for all others. On the contrary, for pure dreamers, imagination remains in their inner sphere in a poorly processed state and is not embodied in an artistic or practical invention. Daydreaming is the equivalent of weak-willedness, and dreamers are incapable of creative imagination ”[p. 35]. Here dreaminess is compared to lack of will, and creative imagination is compared to will.

The ideal, as the construction of creative imagination, is a vital force only when it guides the actions and deeds of a person, strives for embodiment. Thus, the formation of imagination has a general meaning that is reflected in all human behavior.

The annotation for chapters 1-5 was made by Surova Irina Vladimirovna

Annotation for chapter 6 Literary creativity at school age.

L.S. Vygotsky, starting to consider literary creation, compares it with drawing. Drawing is a typical creativity of young children and especially preschool children. It is stagewise and for most children, interest in it weakens by the beginning of school age. Its place begins to be taken by new, verbal or literary creativity, which dominates, especially during puberty in a teenager.

The development of written language lags behind the development of oral speech in children. This is mainly due to varying degrees difficulties of both means of expression for the child. When a child faces a more difficult task (using written language), he copes with it at a lower level, showing the peculiarities of speech characteristic of a younger age.

Difficulties in writing, first of all, appear due to the fact that it has its own laws that differ from the laws of oral speech, which are not sufficiently accessible to the child.

Younger schoolchildren do not have an inner need for writing in the transition to written language, i.e. the child often does not understand why he needs to write. Therefore, the development of children's literary creativity immediately becomes much easier and more successful when the child writes on a topic that is internally understandable for him and encourages the expression of his own inner world in a word.

L.S. Vygotsky cites Blonsky and Tolstoy, who describe how, from their point of view, written literary creativity in children should be developed. Blonsky advises choosing the types of literary works that are most suitable for children, namely: notes, letters, short stories. Summarizing Blonsky's recommendations, L.S. Vygotsky emphasizes that the task is to create a need for writing in a child and help him master the means of writing. L.N. Tolstoy, describing his experience of working with peasant children, says: in order to bring up literary creativity in children, you need to give them only incentives and material for creativity. L.N. Tolstoy suggests using four techniques:

• offer the widest selection of topics that are serious and of interest to the teacher himself;
• for samples for children's literary creativity, give only children's compositions;
• while examining children's essays, do not make comments to children about the neatness of the notebook, spelling and, most importantly, about the construction of sentences and about logic;
• the gradual increase in the complexity of topics should lie not in the volume, not in the content, not in the language, but in the mechanism of the matter - the process of composition.

L.S. Vygotsky criticizes L.N. Tolstoy for his idealization of childhood.

According to L.N. Tolstoy's just-born child is ideal, and any kind of upbringing and training does not develop, but spoils it.

L.S. Vygotsky, on the contrary, considers it wrong to look at the perfection of the child's nature, and, consequently, to deny the meaning and possibility of upbringing. Vygotsky is convinced that education in general, and the education of literary creativity in children, in particular, is not only possible, but completely inevitable. He emphasizes that Tolstoy himself was engaged in upbringing, directing the process of children's creativity. And he sums it up: correct upbringing is to awaken in the child what is in him, to help him develop and direct this development in a certain direction.

L.S. Vygotsky analyzes the creativity of the homeless. Verbal creativity in these children takes for the most part the form of songs sung by the children and reflecting all aspects of their life; it is distinguished by the genuine seriousness of literary speech, the brightness and originality of the children's language, real emotionality and concrete imagery.

L.S. Vygotsky examines the connection between the development of literary creativity and adolescence. At this age, a new factor of puberty, sexual instinct, becomes very important. Because of this, the previously found equilibrium is upset. A characteristic feature of this age is increased emotionality, increased excitability of the child's feelings. And during this period, it is the word that allows with much more ease (than drawing) to convey complex relationships, especially of an internal nature, as well as movements, dynamics, and the complexity of events.

Speaking about the studies of Giese, Vakhterov and Schneerson, L.S. Vygotsky refers to the concept of a child's agrammatical speech. During this period, the child's speech lacks indications of connections and relationships between objects and phenomena. Stern singles out the era of the appearance of subordinate clauses, indicating this connection, in the fourth, highest, phase of the development of children's speech.

Vakhterov analyzed children's speech from this side and came to the conclusion that the frequency of the use of indirect cases also increases with the development of the child. The same is found in terms of the use of parts of speech. All this indicates that by the age of twelve and a half, the child enters the stage of understanding relationships, which are conveyed by the grammatical form of indirect cases.

The results of studies of children's oral and written speech (Schlag, Gut, Linne, Soloviev, Busemann, Revesh, etc.) are presented.

Referring to the advanced development of oral speech (in comparison with the development of writing), Vygotsky agrees with the conclusions of some authors, who distinguish three main eras in the development of children's creativity:

• 3-7 years: oral verbal creativity;
• from 7 years to adolescence: development of written language;
• the end of adolescence and the period of adolescence: the literary period.

The superiority of oral speech over writing persists even after the end of the first period, and the transition to written speech immediately complicates and discolors children's speech. Australian researcher Linke notes that a 7-year-old child writes like a 2-year-old would speak.

Busemann, highlighting the coefficient of activity in the literary work of children, came to the conclusion that speaking is more active, while writing is of higher quality. This is also supported by the fact that writing is slower.

Children's collective literary creativity is characterized by the following features:

• combining fantasy
• emotional approach
• the desire to bring emotional and imaginative construction into an external verbal form
• children's creativity feeds on impressions coming from reality

L.S. Vygotsky compares the relationship of children's creativity to adult creativity, on the one hand, with the relationship of children's play to adult life, on the other.

Based on this analogy, L.S. Vygotsky proposes to develop and stimulate children's literary creativity like a game, namely: to offer children certain tasks and topics that suggest the emergence of a number of certain impressions in children.

The best stimulus for children's creativity is such an organization of children's life and environment, which creates the needs and opportunities of children's creativity.

The primary form of children's creativity is syncretic creativity - certain types of art have not yet been divorced in it. This syncretism points to the common root from which all other types of children's art were divided - children's play. The connection between children's artistic creativity and play, according to Vygotsky, is as follows:

• the child creates his works in one step, rarely works on it for a long time;
• the inseparability of children's literary creativity, like games, with the child's personal experiences

The meaning of children's literary creativity is that it contributes to the development of creative imagination, enriches the emotional life of the child. And although this creativity cannot bring up a future writer in a child, it helps the child to master human speech.

Annotation for chapter 7. Theatrical creativity at school age.

The closest thing to children's literary creativity is children's theatrical creativity or dramatization. This type of children's creativity is closest to a child for two reasons:

• the drama is based on an action performed by the child himself and, therefore, it is directly related to the personal experiences of children;
• drama is rooted in play and therefore is the most syncretic type of children's creativity: literary composition, improvisation, verbal creativity, visual and technical creativity of children, and, finally, the game itself.

From the point of view of Petrova, children's dramatic creativity is spontaneous and does not depend on adults. It makes it possible, through imitation, to understand unconscious mental movements (heroism, courage, self-sacrifice). In addition, this form of creativity gives children the opportunity to output their fantasies to the external plane (which adults do not do).

Petrova says that in the process of children's theatrical creativity, the child's intellectual, emotional and volitional spheres are excited, without undue stress at the same time in his psyche.

L.S. Vygotsky, pointing out that children's theatrical creativity should not be limited to the reproduction of an adult theater, speaks of the importance of the process of children's creativity in any of its forms - it is necessary that children create, create, exercise in creative imagination and its implementation. This point of view stands in contrast to the idea of ​​many teachers that this form of creativity contributes to early development childish vanity, unnaturalness, etc.

Children's theater cannot be an exact copy of an adult transferred to children's conditions. The child must understand what he is doing, what he says and why all this is needed. The highest reward for a child is not the approval of adults, but the pleasure of the process itself, done for oneself.

In such a form of creativity as dramatization, the effective form of the image through the medium of one's own body is most consistent with the motor nature of children's imagination and therefore is often used as a teaching method.

Annotation for chapter 8. Drawing in children's art.

Drawing is the primary form of creativity for a child at an early age. According to various sources, the period of decline in interest in drawing falls between the ages of 10 and 15, after which interest increases again, but only among gifted children. Thus, according to Lukens, the drawings of an adult differ little from those of a child of 8-9 years old.

Kershenshteiner, based on data from his systematic experiments, divided the entire process of the development of children's drawing into 4 stages, without taking into account the stage of scribbles.

1. First step. Scheme. The drawings of this period are characterized by:

• schematic: a person is depicted as a cephalopod;
• drawing from memory, not from life;
• the image in the drawing of details that are important, in the opinion of the child, but not always necessary;
• X-ray imaging method;
• inconsistency and implausibility of the details of the drawing.

Selli says that children at this stage of the development of drawing are more symbolists than naturalists. In their drawings, children highlight only the most important (in their opinion) signs and are limited to their depiction. Psychologists agree that at this stage the drawing is a graphic story about the depicted object.

2. Second stage. An emerging sense of form and line. The child gradually begins not only to list the specific features of the object, but also to convey the formal relationships of the parts. The drawings of this stage are characterized by:

• a mixture of formal and schematic images;
• more details;
• more believable details;
• lack of passes.
• However, this step cannot be strictly delimited from the previous one.

3. Third step. A believable image. Here the scheme disappears, and the drawing takes the form of a silhouette, or outlines. The drawings still lack plasticity, perspective, but the image is already real. Children rarely go beyond this stage without additional training. This happens from the age of 11, when a certain percentage of children with certain abilities begin to stand out.

4. Fourth step. Plastic image. Individual parts of the subject are depicted convexly with the help of light and shadow, perspective appears, movement is transmitted.

It would seem that drawing from observation should be easier than from memory. But it turned out, after analyzing all 4 stages of the drawing, that this is not so. The researcher of children's drawing, Professor Bakushinsiky, explains this as follows. At the first stage, the motor-tactile form and the same way of orientation come to the fore in perception. During this period, the action is more important than the result, and this action has a strong emotional coloring. The role of vision in mastering the worlds is increasing more and more and subjugates the motor-tactile apparatus. In the new period, the child is again interested in the process, but now it is the process of contemplating the world around him.

The fourth stage develops in children, according to Kerschensteiner, either gifted, or learners, or living in a favorable environment. And this is no longer a spontaneous, not spontaneously arising activity of children. This is creativity associated with certain skills and abilities.

The data of Levinstein's research are presented.

Vygotsky emphasizes that the development of children's art, like any other creativity, should be free, not forced and optional.

In a transitional age, a child is not satisfied with a drawing made somehow, he needs certain skills. This problem is twofold - on the one hand, it is necessary to cultivate creative imagination, and on the other hand, the very process of translating what was conceived on paper needs a special culture. Any art requires a certain technique of performance, and the more complicated this technique is, the more interesting it is for children. Thus, a love of work develops in children and adolescents.

Children's creativity is manifested wherever it is possible to direct the interest and attention of children to a new area in which a person's creative imagination can manifest.

In conclusion, L.S. Vygotsky emphasizes the importance of setting pedagogical work on the development and exercise of the child's imagination, which are one of the main forces in the process of preparing him for the future.

The annotation for chapters 6 - 8 was made by student Georgievskaya E.A.

Chapter I. Creativity and imagination 3

Chapter II. Imagination and Reality 8

Chapter III. Creative Imagination Engine 20

Chapter IV. Imagination in a child and adolescent 26

Chapter V. "The pangs of creativity" 33

Chapter VI. Literary creativity at school age 36

Chapter VII. Theatrical creativity at school age 61

Chapter VIII. Drawing as a child 66

Appendix 79

Afterword 87

Conclusion

THE AFTERWORD

Peru, the outstanding Soviet psychologist L.S. Vygotsky (1896-1934) is the author of both serious scientific works (for example, Thinking and Speech) and several popular scientific works (for example, Pedagogical Psychology).

Brochure “Imagination and Creativity in Childhood. Psychological sketch "-" the bottom of them. Its first edition dates back to 1930, the second - 1967. Why is there a need for a third edition? This is due to the following circumstances. First of all, with the fact that this brochure expounds the concepts of imagination and creativity that are not yet outdated in science. These concepts, illustrated by intelligible examples, are presented clearly and simply, which allows the general reader to easily assimilate their rather complex content. However, in last years the interest of the reading public, and especially teachers and parents, to the peculiarities of children's imagination and creativity has sharply increased. And finally, there are few books in our popular scientific psychological literature that, by combining depth of content with vivid presentation, can satisfy such an interest. I hope that L.S. Vygotsky will be able to do this.

It should be said that in its text the author used numerous factual material available to other psychologists, however, the originality of the interpretation of the psychological nature of imagination and creativity, given in the brochure, is internally connected with the original theory mental development the child created by L.S. Vygotsky in the late 1920s. It was thanks to this theory that the name of its author later became famous all over the world. Its main ideas became the foundation of the scientific school of L.S. Vygotsky, to which many prominent Soviet and foreign scientists belong. One of the main such ideas is associated with the assertion of the creative nature of human activity in general and the child in particular. Several chapters of the brochure are devoted to a thorough analysis of the features and mechanism of imagination as an important mental ability of a person, its connection with creativity. First of all, L.S. Vygotsky extensively substantiates the following propositions, which are very important for psychology and pedagogy.

The first position consistently reveals the meaning of imagination for the implementation of a person's creative activity, which manifests itself in all aspects of his cultural life. “In this sense,” writes L.S. Vygotsky, - everything is decisively what surrounds us and what is done by the hand of man, the whole world of culture, in contrast to the natural world - all this is a product of human imagination and creativity based on this imagination ”(p. 5 of this publication).

The second provision is aimed at showing the presence of creativity in the everyday life of all people: creativity is a necessary condition for their existence. “And everything that goes beyond the limits of routine and which contains at least an iota of the new, owes its origin to the creative process of man” (p; 7). If she understands creativity, then it can be found in a person already in the earliest, childhood, although, of course, the highest expressions of creativity are inherent in only a certain part of people.

The third position is related to the characteristics of the connections between imagination (or fantasy) and reality. L.S. Vygotsky convincingly shows that any image, no matter how fantastic, has certain features of reality, relies on human experience, reflects it. emotional mood... Moreover, a significant part of the images of the imagination finds its object embodiment in machines, tools and in the works of the spiritual culture of people.

In the fourth position, the psychological mechanism of creative imagination is described in detail. This mechanism includes the selection of individual elements of the subject, their change (for example, exaggeration, understatement), the combination of the changed elements into new holistic images, the systematization of these images and their "crystallization" in the subject embodiment. The well-known "pangs of creativity" are precisely connected with the striving of images of the imagination for embodiment. “This is the true basis and the driving principle of creativity,” writes L.S. Vygotsky (p. 34).

All these provisions still retain their scientific significance. At the same time, it should be noted that due to the logical and psychological research carried out in recent decades, the understanding of the general nature of imagination has improved. To those of its features that were described by L.S. Vygotsky, added such a new essential feature as grasping by a person in the image of the imagination of the integrity of a certain object before identifying parts of it. Thanks to this feature of imagination, a person can create, for example, plans for his mental and objective actions, carry out different kinds experimentation, etc. Based on the above concepts, L.S. Vygotsky traces in his brochure the development of imagination in childhood, its manifestations in the literary, theatrical and visual work of schoolchildren. At the same time, it is emphasized that at each age stage, imagination and creativity have their own specific features, closely related to the volume and nature of the child's everyday and emotional experience.

So, in preschool age, the level and characteristics of a child's imagination are primarily determined by his play activity. “A child's play,” writes L.S. Vygotsky, - is not a simple recollection of the experience, but the creative processing of the experienced impressions, their combination and the construction of a new reality from them that meets the needs and desires of the child himself ”(p. 7). Modern research shows (see the works of D.B. Elkonin, N.Ya. Mikhailenko; S.L. Nososelova and others) that the play of preschool children, especially if it is carried out with the skillful guidance of adults, contributes to the development of their creative imagination , allowing them to come up with, and then implement the ideas and plans of collective and individual actions.

Creativity and the need for creation arise in preschoolers through their play activities. Since, in our opinion, the essence of a person's personality is associated with his need and ability to create, then the personality begins to develop in preschool age.

L.S. Vygotsky draws very subtle psychological differences in the characteristics of the creative imagination in children and adolescents, showing a deep originality of the latter's imagination. This dispels the widespread belief that a child has a richer imagination than an adult. In fact (since the level of imagination depends on the depth and breadth of a person's experience) this psychic ability is developed in an adult to a greater extent than in a child.

L.S. Vygotsky strongly objects to the fact that creativity is the lot of the elite: “If you understand creativity in its true psychological sense, as the creation of something new, it is easy to come to the conclusion that creativity is the lot of everyone to a greater or lesser extent, it is also a normal and constant companion of children. development ”(p. 32). From this conclusion, formulated by our wonderful psychologist, flows a sublime and optimistic pedagogical idea related to education. creativity children. And the following remark by L.S. Vygotsky: “Typical features of children's creativity are best understood not by geeks, but by ordinary, normal children” (p. 32).

A significant part of the brochure under consideration is devoted to the problems of artistic creativity of schoolchildren. Considering the peculiar features of their literary, creativity, L.S. Vygotsky specifically notes that a child must "grow up" to him, acquire the necessary personal inner experience, therefore only adolescents can observe serious manifestations of literary creativity. Interesting is the opinion of L.S. Vygotsky about the great importance it has for the development of the imagination of adolescents and their emotional sphere(see p. 61).

Agreeing with L.S. Vygotsky in the fact that inclusion in literary creation requires important psychological prerequisites, it can be noted that, in accordance with new research materials (see the works of Z.N. Novlyanskaya, G.N. Kudina, etc.), a significant part of these prerequisites can appear in children even in primary school age, and not in adolescence, however, with the use of special means of introducing these children into the field of literature.

Of great interest are the statements of L.S. Vygotsky on the expediency of correct pedagogical support of the theatrical creativity of schoolchildren, on its internal connection with acts of motional dramatization, with the subject embodiment of images of the imagination (see pp. 62, 64, etc.). Analyzing the issue of "fading" of fine art in adolescence, L.S. Vygotsky rightfully connects the possibility of preserving it in adolescents with their mastery of the culture of painting (see p. 78). His ideas about the need for strong support at school for everything that contributes to the development of children's technical creativity, which makes a serious contribution to the development of their imagination, are original (see pp. 77-78).

A psychological essay on children's imagination and creativity, written by L.S. Vygotsky more than 60 years ago, retains its cognitive potential, which it is advisable to master for our teachers and parents. A careful reading of this essay will support in them the desire to organize such an upbringing of children, which will primarily be aimed at developing their creative imagination - the psychological core of the personality. “Creation of a creative personality, - wrote L.S. Vygotsky, - directed to the future, is prepared by the creative imagination, embodied in the present ”(p. 79). One cannot but agree with these words.

Full member of the USSR Academy of Pedagogical Sciences V.V. Davydov

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V human behavior in his activities, we can easily see two main types of actions. One activity is reproducing reproductive. Associated with memory. Its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior or resurrects traces of previous impressions. My activity does not create anything new, its basis is a more or less exact repetition of what happened. The brain is an organ that retains previous experiences and makes it easier to reproduce those experiences.

In addition to reproducing activity, it is easy to notice combining or creative activity. Any human activity, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, and will belong to this second kind of creative or combining behavior.

This creative activity, based on the combining ability of our brain, is called imagination or fantasy by psychologists. In everyday life, fantasy is called all that is not real, that does not correspond to reality. In fact, everything that surrounds us and that is made by the hand of man, the whole world of culture, is all a product of human imagination.

Creative processes are revealed in full force already in early childhood. And they are best expressed in games. The desire of children to compose is as much an activity of the imagination as a game.

Chapter 2. Imagination and reality.

In order to understand the psychological mechanism of imagination and the associated creative activity, it is best to start by clarifying the connection that exists between reality and fantasy in human behavior.

The first form of connection between imagination and reality is that every creation of the imagination is always built from elements taken from reality and contained in the previous experience of man.

Imagination always consists of materials given by reality, but it can create more and more degrees of combinations, combining first the primary elements of reality, secondly combining images of fantasy, etc., but the last element will always be impressions of reality.

The creative reality of the imagination is directly dependent on the richness and diversity of a person's previous experience, because this experience represents the material from which constructions are created.

fantasy. The richer a person's experience, the more material his imagination has at his disposal.

If we want to create a solid foundation for the creative activity of the child, it is necessary to expand his experience. The more the child has seen, heard, experienced, the more he knows and assimilated, the more productive the activity of his imagination will be.

The second form of connection between fantasy and reality is another, more complex connection between the finished product of fantasy and any complex phenomenon of reality. This form of communication becomes possible only thanks to someone else's or social experience. In this case, imagination acquires a very important function in human behavior and development; it becomes a means of expanding a person's experience, because he can imagine what he has not seen. In this form, imagination is an absolutely necessary condition for almost all mental activity of a person.

The third form is emotional connection. Impressions or images that have a common emotional sign, i.e. those that have a similar emotional impact on us tend to unite with each other, despite the fact that no connection exists. It turns out a combined work of imagination, which is based on a common feeling that unites heterogeneous elements that enter into a relationship.

The fourth form consists in the fact that the construction of fantasies can represent something essentially new, which has not existed in the experience of a person, and does not correspond to any - whether really existing object; however, being embodied outside, having taken a material embodiment, this crystallized imagination, having become a thing, begins to really exist in the world and affect other things. This imagination becomes reality.

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1. The concept of imagination

2. Imagination and creativity

3. Types of imagination

4. Methods for creating images

Used Books

1. The concept of imagination

imagination preschooler creative psyche

Imagination is a special form of the human psyche, which stands apart from other mental processes and at the same time occupies an intermediate position between perception, thinking and memory. The specificity of this form of the mental process lies in the fact that imagination is probably characteristic only of a person and is strangely connected with the activity of the organism, being at the same time the most "mental" of all mental processes and states. The latter means that the ideal and mysterious nature of the psyche is not manifested in anything other than imagination. It can be assumed that it was the imagination, the desire to groan and explain it, that attracted attention to mental phenomena in antiquity, supported and continues to stimulate it in our days.

However, the phenomenon of imagination remains mysterious today. Humanity still knows almost nothing about the mechanism of imagination, including its anatomical and physiological basis. The questions of where imagination is localized in the human brain, with the work of which nervous structures it is known to us, have not yet been solved. At least we can say much less about this than, for example, about sensations, perception, attention and memory, which are sufficiently studied.

Imagination is a special form of reflection, which consists in creating new images and ideas by processing existing ideas and concepts. The development of imagination proceeds along the lines of improving the operations of replacing real objects with imaginary ones and re-creating imagination. The child gradually begins to create more and more complex images and their systems on the basis of existing descriptions, texts, fairy tales. The content of these images develops and becomes enriched. Creative imagination develops when the child not only understands some techniques of expressiveness (hyperbole, metaphor), but also independently applies them. Imagination becomes mediated and deliberate.

Imagination is the most important aspect of our life. Imagine for a moment that the person did not have a fantasy. We would be deprived of almost all scientific discoveries and works of art. Children would not hear fairy tales and would not be able to play many games. How could they learn the school curriculum without imagination? It's easier to say: deprive a person of fantasy - and progress will stop! Hence, imagination, fantasy is the highest and most necessary ability of a person. At the same time, 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. Scientists call this period sensitive, that is, the most favorable for development. figurative thinking and imagination. And if during this period the imagination is not specially developed, then a rapid decrease in the activity of this function occurs. Together with a decrease in the ability to fantasize, a person's personality becomes impoverished, the possibilities of creative thinking decrease, and interest in art and science dies out.

Thanks to imagination, a person creates, intelligently plans and manages his activities. Almost all human material and spiritual culture is a product of the imagination and creativity of people.

Imagination takes a person out of the bounds of his momentary existence, reminds him of the past, reveals the future. Together with a decrease in the ability to fantasize, a person's personality becomes impoverished, the possibilities of creative thinking decrease, and interest in art and science dies out.

Imagination is the highest mental function and reflects reality. However, with the help of imagination, a mental retreat beyond the limits of the directly perceived is carried out. Its main task is to present the expected result before its implementation. With the help of imagination, we form an image that has never existed or does not exist in this moment object, situation, conditions.

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 new things. Any imagination generates something new, changes, transforms what is given by perception. These changes and transformations can be expressed in the fact that a person, proceeding from knowledge and relying on experience, will imagine, i.e. will create, for himself, a picture of what he has never really seen himself. For example, a message about a flight into space prompts our imagination to paint pictures of life, fantastic in its unusualness, in zero gravity, surrounded by stars and planets.

Imagination can, anticipating the future, create an image, a picture of something that did not exist at all. So the astronauts could imagine in their imaginations a flight into space and landing on the moon when it was just a dream, not yet realized and it is not known whether it is realizable.

Imagination can, finally, commit such a departure from reality, which creates a fantastic picture, clearly deviating from reality. But even in this case, it reflects this reality to some extent. And the imagination is all the more fruitful and valuable, the more it transforms reality and deviates from it, yet takes into account its essential aspects and most significant features.

2. Imagination and creativity

Imagination plays important role in every creative process, and especially its significance is great in artistic creation... The essence of artistic imagination lies, first of all, in being able to create new images capable of being a carrier of ideological content. The special power of the artistic imagination lies in creating a new situation, not by violating, but subject to the preservation of the basic requirements of vitality.

Fundamentally mistaken is the idea that the more bizarre and outlandish the work, the more imagination its author has. After all, the more realistic the work, the more powerful the imagination must be in order to make the described picture visual and figurative. After all, as you know, a powerful creative imagination is recognized not so much by what a person can invent, invent, but by how he knows how to transform reality in accordance with the requirements of artistic design. But the observance of vitality and reality does not mean, of course, a photographically accurate copy of what is perceived, because a real artist has not only the necessary technique, but also a special view of things, different from the view of a non-creative person. Therefore, the main task of a work of art is to show others what the artist sees, so that others can see it as well. Even in a portrait, the artist does not photograph the depicted person, but transforms what he perceives. The product of such imagination often gives a deeper and more accurate picture than even photography can do.

Some experiences, feelings of people in Everyday life may be invisible to the eye of the layman, the artist's imagination, deviating about reality, transforms it, illuminating it brighter and more prominently showing some particularly important part of this reality for him. To move away from reality in order to penetrate deeper into it and better understand - this is the logic of creative imagination.

Imagination is no less necessary in scientific creativity. In science, it is formed no less than in creativity, but only in other forms.

The creative activity of L.S. Vygotsky defines it as "human activity that creates something new, no matter whether it is a thing of the external world created by creative activity or a well-known construction of the mind or feeling that lives and is revealed only in the person himself."

All human activity can be divided into two types, which have their own characteristics: reproducing, or reproductive, and combining, or creative.

Reproductive activity is the preservation of the previous experience of a person, ensuring his adaptation to habitual, stable environmental conditions. This activity is based on the plasticity of the human brain, which means the ability of a substance to change and maintain traces of this change.

The result of creative or combining behavior is not the reproduction of impressions or actions that have been in a person's experience, but the creation of new images or actions. The brain not only preserves and reproduces the previous experience of a person, but it also combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. Creative activity makes a person "a creature facing the future, creating it and modifying his present."

It is this creative activity based on the combining ability of the brain that is called imagination or fantasy in psychology. Imagination is the basis of all creative activity and manifests itself in all aspects of cultural life and makes artistic, scientific and technical creativity possible. Therefore, the everyday definition of imagination is not true, as everything that does not correspond to reality and cannot have any serious practical significance.

Creativity is not the lot of only a select few people, geniuses who created great works of art, made great scientific discoveries or invented some kind of improvement in the field of technology. Creativity exists wherever a person imagines, combines, changes and creates something new, no matter how small it may seem. A huge part of everything created by mankind belongs to the union of many grains of individual creativity.

Undoubtedly, the highest expressions of creativity remain the prerogative of geniuses, but creativity is a necessary condition for human existence in the everyday life around us, for the existence of everything that goes beyond the routine.

Creative processes are found already in early childhood - in the games of children, which always represent the creative processing of experienced impressions, their combination and the construction of a new reality from them that meets the needs and desires of the child himself. It is the ability to create a structure from the elements, to combine the old into new combinations that is the basis of creativity.

The roots of creative combination can also be found in the games of animals, which are often a product of the motor imagination, but these are only the beginnings of the creative imagination, which received their high development only in humans.

Principles for the Development of Creative Imagination

1. Before embarking on the development of creative activity in children, it is necessary to form in them the speech and thinking skills necessary for this.

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

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

5. The child should be taught to seek a solution, taking into account, first of all, the possible consequences, and not the absolute merits.

6. Encourage children to express their own ideas about the problem being solved.

3. Types of imagination

Types of imagination according to the degree of activity:

passive imagination - does not stimulate actions about the embodiment of the created images; active imagination - the creation of images that are later realized in real activity, increasing its creative content.

By randomness:

involuntary imagination - the creation of images with a weakened activity of consciousness (in drowsiness, sleep, mental disorders);

voluntary imagination - conscious, directed creation of images with specific motives, goals and objectives.

Combination: voluntary passive imagination - dreams; voluntary active - the activity of people of creative professions.

In connection with past experience:

recreational imagination - the creation of images (according to a verbal or schematic description), which was not previously perceived in a finished form, but already similar objects or their elements are familiar. Imaginary images based on stored in memory are more flexible and rich.

Creative imagination is the creation of new images as original products without relying on past experience.

If possible, implementation:

realistic imagination - a person believes in reality created images and the possibility of their embodiment, if not - a fantastic imagination (exists in the role-playing games of children + the genre of "fantasy") The line is fuzzy.

A special kind of imagination

Dream: creating images of highly desired objects or events. Genetically derived from role play - children try on the desired role, image. A person can dream about the real and not, his activity associated with real activity is realized in a dream, the orientation of the person is reflected, her vision of the ideal future (from the personal to the global level) is an incentive factor that determines, to some extent, vital activity.

With all the variety of types, the main function is to anticipate the future, the ideal representation of the result of activity. Hence the stimulating and planning functions for transforming reality.

Imagination is carried out through complex processes of processing actual perceived information and memory representations. As in thinking, the main processes are analysis (dividing ideas into component parts) and synthesis (combining them into a new holistic image). This is achieved through specific imaginative processes:

Exaggeration / exaggeration of real-life objects or their parts (creating the image of Thumbelina)

Accentuation - exaggeration of real-life objects or their parts (Buratino's nose).

So from the elements of past experience (but not in the same combinations) a new one is created - a connection between imagination and creativity.

All types of creativity: scientific, technical, literary, artistic, etc. are based on imagination. The peculiarity of pedagogical creativity is that the results of pedagogical activity do not appear immediately: their presentation in the form of a model of a formed personality is designed for a long time and determines the choice of teaching and upbringing methods, pedagogical requirements and influences.

The ability to create (creativity) is different for everyone, their formation is due to many factors (innate inclinations, human activities, the conditions of upbringing and education that affect the development of mental processes, etc.). This is impartiality, the ability to free oneself from a fixed attitude, the ability to perceive reality and transform it in an unconventional way, to overcome stereotypes, to form non-standard connections between images and concepts, etc. In communication, creativity helps to overcome barriers, obstacles to adequate social perception, and the establishment of relationships. The essence of creativity lies in a pronounced individuality of a person, a departure from traditional forms of behavior. A multivariate, flexible vision of the world is more typical for children, much less often for adults. The way of life and the main types of activities of preschoolers - games, drawing, construction, reading fairy tales, fantasizing - are adequate conditions for the development of their creativity. By the end of preschool age - a high level of development of naive creativity - immediacy in behavior in the absence of stereotypes, but creative activity is not yet regulated by anything. Realization of creative potential is associated with the development of cultural creativity, which is based on the rich associative experience of the chela, his comprehensive knowledge, flexibility in their use. Cultural creativity is characteristic of an intellectually developed adult who is capable of self-regulation of creative activity. Its development depends on the characteristics of the microenvironment and life, the child's relationship with society.

Unfortunately, the traditional understanding of good school education leaves little room for the development of creativity as an element that is hardly reconciled with the framework of the curriculum, the rules studied, the laws of logical operations, systems of concepts, ways of operating with them. Modern conditions of education and upbringing are favorable for the development of an erudite intellectual personality, but they do not help to create fundamentally new things.

Modern society is interested in creating conditions for the development of creative potential. It is necessary to introduce new methods for the development of creativity, the attitude towards the individuality of the child as a value. Problem: they continue to prioritize the assimilation of knowledge, rather than the development of creative thinking and imagination of children. Learning stereotypes get in the way comprehensive development personalities.

4. Methods for creating images

The creative process includes three main stages: the accumulation of material, the processing of the accumulated material (dissociation and association of impressions) and the combination of individual images, bringing them into a system, and building a complex picture.

The accumulation of material includes external and internal perception, which is the basis of creativity. This is what the child sees and hears.

The processing of accumulated material includes the dissociation of perceived impressions and association.

In the process of dissociation, the impression, as a complex whole, is divided into parts, individual parts stand out predominantly in comparison with others and are preserved, others are forgotten.

The ability to highlight the individual features of a complex whole is important for all creative work of a person on impressions. Dissociation is followed by a process of change, a process of exaggerating and diminishing individual elements of impressions, characteristic of the imagination of both children and adults.

Exaggeration, due to the child's interest in the outstanding and extraordinary, arousing a sense of pride, associated with the imaginary possession of something special, allows the child to exercise in operating with quantities that were not in his experience. And this operating with quantities - smaller or larger - has allowed humanity to create astronomy, geology, physics, chemistry.

An association is an amalgamation of dissociated and altered elements, occurring on a different basis and taking different forms from the purely subjective to the objectively scientific. The course of the listed processes (stages) of creative imagination depends on several basic psychological factors.

The first factor is the human need for adaptation to the environment. Vygotsky writes: “The basis of creativity is always an inability, from which needs, aspirations and desires arise” [pp. 23-24].

It is the needs or aspirations that set in motion the process of imagination and provide the material for its work. Other obvious factors Vygotsky includes experience, needs and interests in which these needs are expressed, combinatorial ability and exercise in this activity, the embodiment of the products of imagination in material form, technical skill, traditions, etc.

Another, little obvious, but important factor is the environmental factor. Outwardly, it seems that the imagination is guided only by the feelings and needs of a person, does not depend on external conditions and is due to subjective reasons. But the psychological law says that the desire for creativity is always inversely proportional to the simplicity of the environment. An invention or scientific discovery appears only when the necessary material and psychological conditions are created. Creativity is a historically successive process, where each subsequent form is determined by the previous ones. That is why there are more different inventors in the privileged classes.

IMAGINATION FUNCTIONS

1. Representation of reality in images

2. Regulation of emotional states

3. Arbitrary regulation of cognitive processes and human states

4. Formation of an internal action plan

5. Planning and programming of human activities

6. Development of imagination in preschoolers.

5. Development of imagination in preschoolers

In the child's play, those possibilities are revealed that are not yet realized in real life. It's like looking into the future. In the game, the child is stronger, kinder, more enduring, smarter and, of course, shows more imagination and imagination than in many other situations. And this is natural. The child must necessarily correlate his desires with the desires of other children, otherwise he simply will not be accepted into the game. He can be stubborn with parents, with educators, but not with play partners. The game forms the child's communication skills, the ability to establish certain relationships with peers. In addition, accepting this or that role, the child learns the norms of behavior necessary for the performance of this role. The child should be gentle and caring in the role of a mother, kind and attentive in the role of a doctor, polite and accurate in the role of a salesperson. And of course, he must be able to come up with and what to play, and what to use for the game, and what to say and do in each of the accepted roles. And it is the children, who are distinguished by the richness of fantasy and invention, who are most willingly accepted into the game, and most often they themselves are the initiators and organizers of games.

Observing the behavior of children in play, some psychologists believed that play only manifests the child's imagination, which is simply inherent in him initially. However, even L. S. Vygotsky was able to prove that the child's imagination does not appear in play, but appears.

It only seems that the child is a preschooler, such a dreamer, living in a world of his own inventions. In fact, the child's imagination feeds on what he sees in reality, on what interests and excites him. In his performances, he processes what he saw and heard and reproduces it in games, fairy tales, drawings. Sometimes this processing leads so far that we cannot immediately see behind the child's inventions the impressions that awakened his fantasy. But in simple cases, the connection between the child's imagination and reality is very clear.

In their games, preschoolers not only follow the logic of reality, but also well distinguish reality from game situation... One of the Soviet psychologists rightly points out that when a child plays with a doll as with a daughter (talks to her, feeds her, dresses her), this does not at all mean that he has the illusion that it is a living child. If this doll suddenly spoke itself or bit off a piece of a toy cake, the child would be simply frightened.

A child acts with objects (sticks, cubes, etc.) that replace what he needs to play, not because in play he leaves reality into the world of his fantasies, into a special world of symbols, as some foreign psychologists believed , but because this substitution is dictated to him by the logic of the game. Soviet psychologist A. V. Zaporozhets pointed out: a child prefers an umbrella to a finished toy horse, not because it is a symbol, but because one can "ride" an umbrella, but not a toy horse, and this is where not symbolism, but realism is manifested child's imagination.

If you carefully observe the children, you will notice that the imagination younger preschooler still, as it were, chained to the subject. He starts the game based on the objects he sees, which he can beat. If pebbles, cones come across on his way, then the cooking game will surely begin. If a fallen tree or a wide stump is encountered, then, as a rule, a "journey" begins ...

The imagination of younger children still follows the clearly visible, for objects that attract their attention. Therefore, younger children prefer bright, object-oriented toys: dolls, cars, etc. Often a baby takes such a toy, performs a few simple actions with it and puts it aside. Therefore, the games of babies are usually very short: 10-15 minutes.

Since initially imagination is associated with playing with objects, then its main development can be carried out through this playing.

The answer to the first question about the origins, about the first steps in the development of creative imagination immediately gives us the key to managing this development. It is becoming clear how we can influence the development of a child's creative abilities from early childhood, at first, at least in the most general terms.

It is in the game that one can begin to form in the child the foundations of the ability to find his own solution, original answers, the ability to act in terms of figurative representations.

When for a walk with junior group the teacher comes out, the kids do not scatter around the entire site, each about their own business, but gather around her in anticipation of some surprise. And expectations are usually met. “Guys, today we will all together build a house for our bear and cook dinner for him. Look, we have a box of building materials, and here we will have a construction site. It is necessary to transport everything that is needed for the house, and the builders will build. " “But we didn't take big cars with us,” disappointed voices are heard. "Nothing, you can think of and find what we will have instead of cars." And there is no longer boredom and solitary fuss with a boring truck. Everyone scatters around the site, and a minute later, another one comes up with proposals: "You can take this plywood, this will be a truck" like a machine. "

The transport problem has been resolved. With the help of a teacher, the most successful proposals are selected, and the kids are divided into groups: some build, while others bring the builders everything they need. And now Mishkin's house is ready. The bear enters and, very pleased, is going to celebrate the housewarming. It's time to help him prepare dinner.

“But we didn't take the toy dishes.” And the search begins again. Someone's bucket is a soup pot. Big leaf and plywood - a former truck - are pans, and compote can be perfectly cooked in an old stump. And again, some kids are responsible for the first course, others for the second, and still others arrange furniture in the bear's house for the arrival of guests. And everything goes into business: cones, leaves, twigs, grass. And if at first every choice is still indecisive ("Natalya Vladimirovna, can I have a bump with a cutlet?"), Then both courage and invention grow very quickly ("Come on, the grass will be pasta." pasta - stalks from dandelions. ”“ And you can make fried eggs from dandelions ”).

Such a game lasts not a minute, but an hour or more, practically all the time allotted for a walk. Of course, the teacher organizes and guides it for the time being, but gradually the freedom of handling the game material necessary for the development of the imagination, the ease of replacing one object with another, the opportunity to see the thing necessary for the game in the simplest stick or piece of paper are laid. And maybe this is where the great poetic ability begins.

We see that play can be manipulated and imaginative even in the most constrained of children. But what about other activities of kids: drawing, modeling, verbal creativity?

It should be noted that here the child's imagination is even poorer than in his independent games.

Children have not yet developed verbal creativity: at best, they can imagine what is happening in a fairy tale, answer questions, or sometimes even supplement it in their own way. The buildings and drawings of young children are still very poor and monotonous, unless, of course, special classes are held with children.

But even if special work is being done, the imagination of babies is still reproductive in nature. The child practically unchanged reflects in his works what he saw or heard. This is clearly seen in the verbal creativity of kids. If the child is given the task of telling what he sees in the picture, or even specially coming up with what happened before or what will happen next, then young children are limited to listing what they see, without even trying to usually connect what they saw in some kind of plot. Older preschoolers are already trying to come up with a plot that unites everything they see, but still they do not go beyond what they see. And only older children can more or less freely complete something of their own, however, based on the proposed picture.

A distinctive feature of the imagination in all types of child's activities is the complete absence of a preliminary design. Just as an object often directs a child's play, the lines he draws on paper change and lead the idea of ​​the drawing, and the cubes, one way or another, are the idea of ​​the building. This is easy to verify. Before drawing, ask your child what he is going to paint. Very often he will say with confidence: "I am drawing a house" or: "I will draw an uncle." But now the first lines appear. The wall of the house "leaves" to the side, the picture begins to resemble a ship, and the kid says: "I'd rather draw a ship." Then the failed ship can be turned into a bird, into a castle, into anything that is very far from the original idea.

All this suggests that the baby's fantasy is still very unstable, that it does not obey a certain task at all, and it is the ability to direct one's ideas in the right direction, to subordinate them to certain goals that characterizes the creative productive imagination. The expression that "without a plan one can only delirium" is absolutely true, and it is also true in relation to such a free process as the creative one. Only the consistent implementation of the plan can lead to the fulfillment of the conceived, to the creation of a creative work. The inability to manage our ideas, to subordinate them to our goals leads to the fact that our best plans and intentions perish, not finding embodiment. Therefore, the most important line in the development of a child's imagination is the development of the direction of the imagination.

However, what we have said so far about the development of imagination in children was only related to the first, the earliest stage of it. Then, during preschool childhood, this one of the most complex mental processes undergoes significant changes.

The nature of the main activity of the child - the preschooler - the nature of the game changes qualitatively. If for a kid this is an object game, then for a child of four or five or six years old it is a role-playing game, which provides the broadest opportunities for the development of imagination and creativity.

In objective play, as we have already said, the child only depicts actions with separate objects - those actions that he saw in adults and which he seeks to imitate. The kid cooks porridge, feeds the doll, puts the bear to bed. The main thing for him here is the performance of actions with objects, and these actions are not always even linked into a chain from which the behavior of adults is usually built.

Psychologists have conducted such an experiment. For children of different ages- three and four to five years - all gave necessary items for preparing dinner. Then the children were offered to cook the first course, the second and the third. All the kids completed this task with pleasure. And then they "brought" a doll-daughter to them and advised to treat her to dinner, and at first they recommended to feed her with delicious compote, then give her cutlets, and after all this soup. It turned out that children of three years old willingly agree to such an order of treats. The main thing for them was to tinker with pots, spoons, plates. It is not at all necessary for them to carry out even such a simple, but already holistic process as feeding their "daughter". Yes, you yourself, for sure, could have noticed how the kids play. They spend an incredibly long time preparing "food" - they tinker with various objects, then quickly, several times poke the doll into the mouth with a spoon, say: "That's it, I have eaten, it's time to sleep" - and begin to tinker with the doll's bed.

A completely different behavior is observed in older children. They no longer agree to feed the doll first with compote and then with soup. To such a proposal, most of the children replied: “You can't do that, mothers don't do that,” and they began to follow the correct procedure. This happened because children in preschool age move from subject to plot. role-playing game, where the main thing is to fulfill a certain role, to fulfill the order of actions inherent in this role. If the child takes on the role of a mother, then he makes sure that the "daughter" eats everything properly, so that she goes to bed on time, so that she can warmly dress her for a walk. In the role-playing game, the child begins to reproduce the relationships that he observes in adults and which he seeks to imitate. And the more the child receives impressions, the more varied his games, the more room for the development of his imagination.

Along with the development and enrichment of individual roles, individual plots of children's games develop, that is, those areas of reality that are reflected in games. Initially, babies reproduce everyday scenes: feeding, dressing, cooking dinner. Then production plots appear: games of chauffeur, doctor, builder, and at the end of preschool age there are games with socio-political plots: war, astronauts, etc.

The development of the plots of children's games is largely determined by adults. Most children, before going to kindergarten, reproduce family life in games. And only the special work of the educator to familiarize children with different spheres of life (the work of a cook, hairdresser, railroad worker, etc.) enriches and develops games. And along with the development of the plots of the games, the possibilities of the child's creative imagination also develop, the material accumulates that awakens and directs the child's imagination.

In the role-playing game, the child not only imagines another object instead of one object, but he also sees himself as a doctor, a magician, or a prince. Fulfilling a role in a game requires a child's most complex imaginative activity: it is necessary to have a good idea of ​​what his hero should be doing at a given moment, to plan his further actions, based on the current situation, to direct the development of the general game as a whole. The plot game captures the child, it creates the emotional mood that is necessary for creativity; it is in play that the child expresses himself most fully and freely. L. S. Vygotsky wrote about play: "A child's play is not a simple memory of what he has experienced, but a creative processing of experienced impressions, combining them and building out of them a new reality that meets the needs and desires of the child himself."

Creativity begins in the game, and therefore it is not at all indifferent whether the girl plays the same "Daughters-Mothers" day after day, and the boy plays in the war or replaces some games with others, in which the child invents all new plot twists, assumes different poles. It would be wrong to think that play is a purely childish business and that it develops according to some of its own laws. It is possible and necessary to interfere with the child's play if you see that his games are not very diverse. You can even play with your baby, offering to act out different plots, take on different roles.

The child must first learn to show his creative initiative in the game, be able to organize, plan and direct the game. Creative dramatization games are very useful for the development of imagination, when children play some familiar fairy tale. In this case, it becomes necessary to imagine a wonderful fairytale situation, to imagine the fantastic actions of the heroes of the fairy tale. Not just listening to a fairy tale, but living complicity, assistance to the heroes awakens all the creative powers of the child, his imagination. If the kid does a good job of playing out a familiar fairy tale, then you can invite him to come up with what happened to the heroes of the fairy tale next, and play it all together with other children.

The role-playing game brings the child close to the ability that characterizes the imagination of an adult - to the ability to act completely in terms of images, in terms of ideas. Indeed, we see that at first the child's imagination is riveted to the objects with which he acts, then he relies on play actions in a plot-role play, but by the end of preschool age the child's imagination breaks off from external supports and goes into an internal plan ...

This transition is prepared by the fact that already in the role-playing game, the child must first imagine his actions, their sequence, their significance for the general plot of the game, and then act. Such a need leads to the fact that the child begins to “play” various situations in his mind more and more often, and then somehow discover it outside. This is how imagination gradually develops as a special mental process - actions in terms of images, representations.

Many psychologists give examples of the gradual transition of the game into the inner plan, its transformation into images of the imagination. Psychologist V. S. Mukhina describes this process in the following way, observing it with his six-year-old son: “Kirilka places toys around her on the ottoman. Lies among them. It lies quietly for about an hour.

What are you doing? Are you sick?

No. I play

How do you play?

I look at them and think what is happening to them. "

Yes, you yourself have probably observed that often such noisy and mobile kids by the end of preschool childhood they calm down a little, concentrate and often play very quietly, saying something and only slightly moving the toys. As a rule, this happens to children with a developed imagination, a desire for their own creativity and fantasy.

Such a gradual transition to an internal, relatively free from external reality of the activity of the imagination, which occurs as a result of the development of play, leads to manifestations of creative activity in various areas. A variety of children's compositions appeared: the first poems, fairy tales. Children are happy to give themselves up to creativity, willingly tell what they have composed to adults.

But if we take a closer look at the products of children's verbal creativity, we will almost always find in them an affinity for fairy tales and stories well known to children. The same can be said about other types of manifestation of children's creativity: drawing, designing, musical activities... The very opportunity appears to act in terms of imagination, freely invent and fantasize, but whether this opportunity will be realized by a child is largely determined by adults. From the very beginning, we must reveal to the child the very essence of creative activity: do not follow ready-made patterns, cliches, templates, but look for as many of our own original solutions as possible, not be afraid to freely express them, direct our imagination to find something new, and bring what has been conceived to the end.

It is very important that along with the transition of the activity of the imagination to the internal plan, the older preschooler acquires another very important ability: to subordinate his imagination to a certain plan, to follow a pre-planned plan.

This feature of the development of imagination plays a very special role, since it is thanks to it that it becomes possible to create your first completed works. We have already seen that in the younger preschooler, the imagination follows the object and everything that he creates is fragmentary, unfinished. So the kid begins to build a house from the blocks: he puts one cube, another, then it all ends with a simply destroyed building.

When an older preschooler has the opportunity to act according to a pre-thought out plan, according to a plan (the ability, which, as we have seen, is also formed in play), it is very important to develop this ability, to help the child not only to fantasize fragmentarily, but to realize his ideas, create let small and uncomplicated, but their own works: drawings, applications, fictional stories.

It is important that the child learns to bring his plan to the end, not to retreat before failure and to realize his little creative plans. If you see that a child already of an older preschool age often abandons what he has begun, constantly changes his idea in the course of activity, then he needs help, it is necessary to direct the development of his productive imagination. To do this, it is good to include the child in joint activities with you. Come up with some fairy tales with him. It is good to play a game when a fairy tale is invented collectively: each of the players speaks several sentences, and the adult participating in the game can direct the development of the plot, help the children complete their plans.

All creative manifestations of the child should be encouraged, gradually instilling in him some criticality in relation to the products of his creativity. It is good to have a special folder or album where the most successful drawings, fairy tales composed by a child would be placed. This form of fixing the products of creativity will help the child to direct his imagination to create complete and original works. Indeed, it very often happens that individual manifestations of fantasy, which are in every child, gradually fade away, not meeting active support from an adult. Often what the child creates seems to us uninteresting, unoriginal, and we can express our skepticism about the child's creativity. In many cases, this is true for some objective indicators (we have already said that the child's imagination in general is poorer than the adult's), but this is unfair in relation to the possibilities of developing the child's imagination.

But no less harm can be inflicted on a child by excessive praise of him, an exaggerated positive assessment of all his creative endeavors. This can lead to the development of complete uncriticality in your child, to the inability to accept criticism later and thereby to stop him. creative development... A flexible combination of a certain criticality with friendly attention to the child's creativity, with the encouragement of the most varied manifestations of his imagination is necessary.

Encouraging creativity is especially important during preschool years. After all, it is with a preschooler that his whole life is permeated with fantasy and creativity. The school already makes special demands on memory, thinking (and, above all, logical thinking), and often the child's imagination, having not received proper development in preschool childhood, gradually fades and is no longer always manifested in adults. But in those cases when we support the spark of creativity and imagination in a child, his imagination can give wonderful results at an older age.

It should be noted that the development of a child's imagination requires special attention also because the child's personality, his emotions, feelings, moods and relations with the world around him are manifested in children's creativity. The Soviet teacher N.A.Vetlugina notes that in artistic creation, the child actively discovers something new for himself, and for those around him - something new about himself.

Psychologists have long known the fact that the predominance of bright, light colors in children's drawings indicates their positive attitude towards what is depicted. Conversely, the use of dark, gloomy colors may indicate a child's negative attitude towards what he is drawing, or, in general, about the predominance of negative emotions in his mental state. In this case, the analysis of the products of children's creativity allows us to look into the depths of the personality of the baby, to help him cope with negative emotions, if any.

And of course, the mood of the child in the game is very clearly manifested. Play is a mirror of the life around children. And how sad it is to watch a toddler retired in a play corner, shaking and beating a doll, scolding it with words that are not at all childish, or to hear how, in response to the question: "What are you playing at?" the child answers: "I play mom" or "I play mom and dad." Such games can be symptoms of neuroses that arise as a result of situations that traumatize the child.

Therefore, developing a child's imagination, it is important to remember that the material for his fantasies is the whole life around him, all the impressions he receives, and these impressions should be worthy of the bright world of childhood.

I must say that the development of imagination is fraught with some dangers. One of them is the emergence of childhood fears. All parents notice that from the age of four to five children have a variety of fears: children may be afraid of the dark, then more definitely - skeletons, devils, etc. The appearance of fears is a companion and a kind of indicator of the developing imagination. This phenomenon is very undesirable, and when fear appears, you need to help the child get rid of it as soon as possible.

Of course, first of all, one should try to prevent those influences that can injure the child, evoke painful images in his imagination. Often, children's fears appear after films and books, which are very harmless and funny in our opinion. But we must remember that the child's imagination completes what he does not yet know, replaces for him those information about reality that he does not have and that we, adults, have. It is obvious to us that Viy is a fiction, that Baba Yaga does not exist, and Kashchei the Immortal is very nice in a fairy tale film. But imagine yourself in the place of a child, try to look at everything through his eyes. For him, all this can be a reality, and such that the imagination helps him to see this reality in his life, to transfer it into his world. Therefore, one must be very careful about the impressions that the child receives, select them in accordance with age and characteristics. nervous system baby. After all, the fear that has arisen can become obsessive, develop into a neurosis, and then you will need the help of a child neuropathologist or psychiatrist.

But if the fear has already arisen, then, of course, we must try to rid the child of it as soon as possible. It is characteristic that it is often the most effective to follow not the logic of reality, but to go over into the logic of the child's imagination. The sentence that there are no devils, that it is stupid to be afraid of the dark, that there are no skeletons, etc. Psychologist Z. N. Novlyanskaya gives an example of a girl who was afraid that a black flower would fly into her room. No persuasion helped, but when the mother, on the advice of a psychologist, said that the cactus on the window was protecting the girl and would not let a black flower reach her, the child calmed down and the fear disappeared.

The second danger lurking in the development of imagination is that the child can completely withdraw into the world of his fantasies. Indeed, already from an older preschool age, a child can play all fictitious situations to himself, without accompanying it with external actions. And it is here that the danger of escaping reality into fantasy, dream, dream lurks, which happens especially often in adolescence and adolescence. It is impossible to live without a dream, but if a child lives only with dreams and fantasies, without realizing them, then he can turn into a fruitless dreamer.

That is why, starting from the older preschool age, it is important to help the child realize his ideas, help subordinate his imagination to certain goals, and make him productive. Teach your child to realize what he has conceived, and you will see how gradually he will begin to experience the joy of creativity, not locking himself in his own fantasies, but revealing himself more and more fully in creative creation.

Everything that we have said so far about the development of the imagination refers to the most general characteristics of this development. We have seen how the imagination begins to form, what changes occur in its development during the preschool age, and how it is possible to have some influence on the formation of the preschooler's imagination.

Conclusion

So, we got acquainted with the most general aspects of the development of the imagination of children. We saw how important this function is for the general development of the child, for the formation of his personality, for the formation of life experience. Due to the importance and significance of imagination for a child, it is necessary to help his development in every possible way and, at the same time, use it to optimize educational activities.

The formation of imagination at an early age occurs as a change in the child's innate activity into transformative activity. The decisive factor at the same time, there is a need for new impressions and communication with an adult, discovering ways to get impressions.

The development of imagination is not the result of direct learning. It is due to the growing transformative activity of the child and the mechanisms of self-development of the imagination: the opposite direction of variation and modeling of elements of experience, schematization and detailing of images.

Used Books

1. Vygotsky L.S. "Questions of Child Psychology";

2. Vygotsky L.S. "Imagination and creativity in childhood", psychological essay;

3. Mukhina V.S. "Child psychology";

4. Vetlugina N.V. "Methodology for the upbringing of preschoolers";

5. Zaporozhets A.V. "Psychology".

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Consideration of the concept of imagination as a mental process of creating new images on the basis of previously perceived, its forms and functions. The psychological nature of the processes of imagination. Determination of the links of this process with the thinking and creativity of a person.

Today, as time shows, it is not enough to be “filled” with knowledge, to be good performers. Time requires people who are capable of thinking outside the box, creative, capable of growth. After all, a creative person adapts more easily to the rapidly changing conditions of life and production, is able to determine the directions of his activities, find original solutions, and ensure his economic independence.

Therefore, one of the very important issues of child psychology and pedagogy is the question of imagination and creativity in children, the development of this imagination and creativity and the importance of creative work for the general development and formation of a child.

LS Vygotsky in his work "Imagination and Creativity in Childhood" notes that there is an opinion that childhood is considered the time when fantasy is most developed, but as the child develops, his fantasies decline. But it is not so. Psychological research shows that a child's imagination develops gradually, as he gains a certain experience. All images of the imagination, no matter how bizarre they may be, are based on those ideas and impressions that we get in real life. In other words, the larger and more varied our experience, the higher the potential of our imagination.

That is why the child's imagination is by no means richer, and in many respects poorer than the adult's. He has more limited life experiences and therefore less material to fantasize about. The combinations of images that he constructs are also less diverse. It's just that sometimes a child explains in his own way what he encounters in life, and these explanations sometimes seem to us, adults, unexpected and original.

At the same time, imagination plays a more important role in the life of a child than in the life of an adult. It manifests itself much more often and is much easier to break away from reality. With its help, children learn about the world around them and themselves.

A child's imagination must be developed from childhood, and the most sensitive, “sensitive” period for such development is preschool and primary school age. “Imagination, as the psychologist OM Dyachenko wrote, who studied this function in detail, is like that sensitive musical instrument, the mastery of which opens up opportunities for self-expression, requires a child to find and fulfill his own ideas and desires.”

Imagination can creatively transform reality, its images are flexible, mobile, and their combinations allow you to give new and unexpected results. In this regard, the development of this mental function is also the basis for improving the creative abilities of the child. Unlike the creative imagination of an adult, the child's fantasy does not participate in the creation of social products of labor. She participates in creativity "for herself", she is not required to be realizable and productive. At the same time, it is of great importance for the development of the very actions of the imagination, preparation for the upcoming creativity in the future.

Imagination is one of the most famous and at the same time incomprehensible psychological phenomena. Man needs imagination; firstly, imagination makes a person interesting to others and intellectually developed, and secondly, it is necessary for the rational organization of their behavior. And, thirdly, a person needs imagination in order to satisfy his unfulfilled needs in life with its help. Finally, imagination plays a particularly important role in creative activity.

In childhood, the need for creativity is realized in the game, all kinds of improvisations, drawings. This need is a response to the environment that surrounds the child. While playing, drawing, improvising, the child truly experiences the invented event. Children try to build images of the imagination, guided by the principles of beauty. Thanks to this, teaching and creativity can be combined in an organic unity. As direct stimuli for creative activity in younger age active communication between an adult and a child, play situations, drawing, modeling, design, etc.

During the period of primary education, educational activity becomes the main activity in the child's life. Hence, it is logical to assume that in this period, in order to deepen and improve the mechanisms of imagination, educational activity should become the leading one in realizing the need for creativity. The reading lesson is of particular importance in this regard, since the center of the lesson is a work of art as a product of creativity. When studying works of art, various types of creative works can be used, aimed at in-depth perception of the text and contributing to the development of the imagination and speech of younger students.

Reading, as an academic subject, involves the use of various non-standard forms of lesson in the teacher's work, since it relies on the figurative thinking of students, requires constant attention from the teacher to the emotional individual perception of the text. Modern students often give preference to a TV screen, and not a good book, therefore, the purpose of reading lessons is to arouse interest in reading, and through this to educate the need for systematic reading of a fiction book.

In the classroom, I offer students a variety of creative assignments:

Compose a fiction;

Compose your own fairy tale, illustrate the most exciting moment;

Using the technique of impersonation, describe what transformations winter has made (relying on reproduction);

Come up with your own fable and arrange it;

Write riddles about the seasons;

Come up with an instructive story, the title of which would be a proverb, write it down and decorate it beautifully;

Write an essay about your favorite season, use quotes and images from poems about nature in your essay;

Come up with your own confusion;

To design the cover for the fairy tale, the program of the performance;

Draw an illustration for any story you like;

Come up with a crossword puzzle in which the name of the writer whose stories were read in the last lessons would be encrypted;

Draw what is most beautiful;

Come up with words for the game.

What do such tasks give?

Firstly, the opportunity for the teacher to test the knowledge of the students and evaluate many for the lesson; secondly, among students - to reveal creativity, talent, giftedness; thirdly, they develop the ability to work in a team.

When preparing for reading lessons, I try to think over all types of work so that the student actively thinks creatively throughout the lesson.

And how many interesting, creative tasks children can complete when studying one work. For example, the fairy tale "Cockerel and a seed of a bean", "Fear has big eyes":

Staging a fairy tale,

Reading by roles;

Illustrating,

Composing crosswords,

Retelling on behalf of the characters,

Drafting content questions,

Come up with your own end to the tale

Choose a proverb for a fairy tale.

Children enjoy acting as science fiction writers. I offer them fantastic hypotheses.

"If I were Winter, then I ..."

"If I were a woodpecker, I would ..."

"If I were a wizard ... .."

"I am happy about autumn, because ..."

“If I were a snowball, then ...” and so on.

Every day I spend five minutes of poetry, at which, on the topic proposed, students are invited to complete a poem at its beginning or end.

Here's what happens:

"First snow,
First snow
Let's gather everything in a crowd,
And on a hill in a crowd
Let's run for a ride
Play and somersault " (Natasha P.)

“Winter is winter, winter!
You are white and cold
Frost on the river ice,
See it all with snow.
Ice skating to ride
And tumble in the snow " (Tanya F.)

“Winter is winter, winter!
You are a beauty beauty!
She came to visit us,
She brought snow “ (Lena L.)

The closest thing to literary creation is theatrical creativity or dramatization. For the purpose of speech development and adaptation of the child in the classroom, “theater” has been introduced into the “Russian alphabet”. Through playing pantomimes, with the gradual inclusion of children's utterances, schoolchildren will learn to master their voice, gestures, facial expressions, and will understand that often it is not so much what is said that matters, but how it is said. “Theater” allows someone to remember, and someone to learn the most common fairy tales, to reveal, through acting out, the features of each hero. When carrying out all types of dramatization, the basic one is the ability to read a remark, to express in it the peculiarities of the character and the mood of the character.

The use of assignments of a creative nature in the lessons in primary school, in extracurricular work helps me:

Form a creative personality;

To prepare children for creative, cognitive and social and labor activities;

Develop logical thinking, memory, speech, imagination, fantasy;

Arouse students' interest in new knowledge;

To consolidate the knowledge and skills that children already have in subjects;

Carry out interdisciplinary communication.

Everything creative work students, and these are drawings, applications, poems, fairy tales that the children composed themselves, are stored in the Rastishka package. Parents are sure to get acquainted with the intellectual, creative and spiritual growth of the child.

The main thing in the pedagogy of creativity is not to let it fade away God's gift, do not prevent the “Mysterious Flower” from blooming in the child's soul.

At the initial stage, the teacher needs to skillfully stimulate the independence of the child and encourage him to his own development, to bring up children with joy, passing on to them our optimism, love of life, unfading admiration, the desire to create. For this, the teacher himself needs to be a creative person, to introduce novelty, unusualness, non-standard methodological techniques, means and forms of teaching.

Summing up, I would like to note that the life experience of children is undoubtedly poor. Where an adult has known everything for a long time, the child sees a lot for the first time, discovers new, interesting, exciting thoughts and feelings. New strong impressions from the phenomenon of reality can be combined in the child's imagination into the most incredible combinations, and what is unacceptable for an adult to combine, the child can easily combine into a vivid and original image. You cannot teach creativity. But this does not mean that it is impossible for an educator, teacher to contribute to his education and manifestation. The most important condition for the manifestation of creativity, Vygotsky believes, is that activity in the child's imagination almost never occurs without the help and participation of adults. The younger student learns not so much from the teacher as with him. Thus, freedom of creativity is ensured by the joint activities of the student and teacher. The mission of the teacher is to instill in the student confidence in his capabilities and abilities, understanding of his aspirations and confidence in success.