What characterizes the aesthetic attitude to the surrounding world. Formation of an aesthetic attitude to the world around

The role of an adult in the development of the aesthetic attitude of a child
to the surrounding reality lies not only in
to draw the child's attention to beautiful things,
phenomena of nature, works of art, but also include
it into the process of empathy about what is perceived. End-
but adults must be able to experience and express aesthetic
chesky emotions, to respond to the feelings of the baby.

The subject of joint aesthetic experience can
be not only works of art, but also manifestations
beauty in everyday life: a bright rug on the floor or a vase
on the table, multi-colored cups for tea or smart clothes

yes baby. For example, when placing dishes on the table, you can
ask the children: “Where are our beautiful cups? These ones
we’ll put the yellow ones on the table for Masha and Petya, with red
spots - Sashenka and Tanyusha. You can ask ma-
choose a vase for flowers brought from a walk or
leaves, say: “This is what a beautiful bouquet turned out to be!”
Educators should pay children's attention to decor-
active details of the garment (bows, embroidery on the pocket,
nice buttons).

Looking at pictures in books with children, you can form
draw their attention to the red boots of the cockerel, to the bright,
Cheerful sundress matryoshka pattern, note in illustrations
and opposite examples: a dirty girl, a slob
little dew. In order to familiarize the kids with the standards of "beautiful
gray - ugly "you can choose the appropriate
pictures from books and discuss them with them. Should not be used
use features as a negative example
appearance of children.

Particular attention should be paid to the interior of the room,
in which the children are. It is known that for the development
a person's ability to perceive and distinguish between beautiful and non-
beautiful is extremely important early experience
impressions of the environment. group rooms,
stairs, corridors of a children's institution should be beautiful
sivo, tastefully decorated. They can decorate children's
drawings, crafts, illustrations of paintings, expositions of
conducts of folk art, which should be periodically
ki to change, drawing the attention of children to what is new and
beautiful appeared in the group room. Subject
joint observation may become just disbanding-
a flower on the windowsill, an unusual bouquet in a vase,
sheen leaves of trees, their color, shape, etc.

It is important to draw children's attention to the beauty of nature
in all its manifestations (trees and grass in autumn and spring;
sparkling snow or hoarfrost, a pattern of ice puddles, transparent
icicles; colorful rainbow, etc.). Can be done in advance
select verses corresponding to such phenomena or
excerpts from them, recordings of musical fragments, paintings
ki, which will contribute to a more emotional response
the child’s click on the environment, they will consolidate the
impression. During the walk, you need to encourage children to play

army with a variety of natural material: leaves,
grass, snow, sand, kamegakami, water, etc. Yes, maybe
but to fold patterns-carpets of twigs and flowers, to decorate
houses made of wood with grass and pebbles: admire the flight
fluffy snowflakes, listen to the cheerful murmur of the brook.
The teacher invites the children to compare, compare, use
to determine the similarity of the observed phenomena, using the
prehistoric images. For example, "leaves rustle,
as if whispering"; "a pebble as cold as ice" or
"looks like a frog." Toddlers learn to feel unusual
the nature of what is happening in nature (a multi-colored droplet of rain
on a twig, a blossoming bud, the gamut of the sky is colored,
creaking snow, etc.). Such observations contribute to the accumulation
artistic impressions, create the basis for
development of aesthetic activity.

Babies are extremely sensitive to emotional
manifestations of an adult: his sincere admiration or surprise
lenience when meeting with the beautiful is always found in them
response. Any of their attempts to express their aesthetic
management should find the support and approval of adults
logo. It should be borne in mind that aesthetic emotions cannot
arise in a child at the behest of a teacher, this requires
Xia special mood and an adult can only contribute
its occurrence. You need to be sensitive and share
katnost in addressing the mood of the baby. Compulsion
and imposition lead to the emasculation of feelings, the formation
his negative attitude to communication on aesthetic
cal themes.

Of particular importance in the aesthetic education of children is
acquaintance with works of art. The earlier the
If a child meets the world of art, the better. At
it is necessary to comply with the measure, based on the individual
nyh her features, desires, preferences. If small-
Shu does not want to listen to music, a poem (he is tired,
attracted), do not insist, you can attract his attention
to this another time or pick up for a joint perception
tia something else.

To enrich the stock of childhood impressions, it is useful to
listen as illustrations for various types of activities
fragments of classical poetic and musical
rock works. Babies enjoy moving

to emotionally expressive pieces of music by M. Glin-
ki, P. Tchaikovsky, X. Gluck, A. Vivaldi, J. Bizet, willingly
fantasize, associating musical images with their own
life experiences. Similar works contain
reaps the deep emotional content necessary for
education of aesthetic feelings in children. It is important that the
works of art were included in the context of communication
an adult with a child, accompanied his life. For example,
going out with the kids for a walk on a clear winter day, you can
but expressively read an excerpt from a poem
A.S. Pushkin "Winter Morning": "Frost and sun; day of miracles
ny!" Or, looking at the flowers with the guys - “Bells-
my ki, flowers of the steppe! What are you looking at me, dark blue
former?” A.K. Tolstoy. Putting the children to bed, you can sing
lullaby or turn on its recording, then this iodine
the same musical fragment ask the kids to shake the ku-
stake etc.

Reading nursery rhymes, fairy tales, it is desirable to accompany
looking at illustrations by V. Vasnetsov, I. Bilibin,
T. Mavrina and others.

The main concept that defined and limited the subject field of aesthetics as scientific knowledge was the concept of "aesthetic relationship" (M. S. Kagan).

Attitude- the relationship of various quantities, objects, actions, determined and manifested through comparison or comparison.

A relation can be characterized as a connection between an object and a subject. The relation is considered as one-way interaction: from the subject to the object. The subject of the relationship can be, for example, a specific person, a group of people or humanity as a whole. The object of the relationship can be a natural phenomenon, a specific thing, another person, ipyima people, etc.

The aesthetic perception of the world is universal: everything that surrounds a person can be the subject of his aesthetic attitude. The aesthetic perception of the world is, as it were, dissolved in everyday life itself. Moreover, aesthetic orientations and preferences that arise as a result of a person's relationship with the world are manifested mostly implicitly. A person cannot think and analyze at every step why he likes something or not. Therefore, the aesthetic attitude in a certain sense is a phenomenon that is difficult to comprehend by the mind. But on the other hand, the aesthetic attitude is the beginning of structuring and mentioning

alignment of the world, since it is the aesthetic experience for any person that is the most obvious criterion in terms of choice.

The aesthetic attitude is a manifestation and form of being of culture, since the aesthetic preferences of each person are determined not only by his individuality, but also by the cultural environment to which he belongs. The relation reveals and reveals the nature of the connection that exists or arises between the subject and the object. Therefore, the relation itself can be considered as a ratio of the properties of the subject and object in the process of their interaction.

Object of aesthetic attitude has a number of formal features: color, smell, proportions, symmetry, geometric shape, etc. These features can be perceived and evaluated by the subject at different levels: theoretical, utilitarian and aesthetic. The utilitarian level of perception is associated with the physiological response and biological manifestations of a person as a living organism. The theoretical level characterizes conscious processes and is conditioned by rational human activity. The utilitarian and theoretical levels are the extreme poles of various manifestations of relations that arise between the subject and the object. Between the theoretical and utilitarian levels of the relationship between man and the world, a level of aesthetic relationship arises, which combines the sensual and rational principles of man as a subject of perception.

The features of an object can also be represented as a system, arranging them according to the principle of materiality, importance for the manifestation of its essence. Our perception begins with a response to the manifestation of individual features of the object (phenomenon). For example, at dusk, at first, a person sees only color stain, then form subject, features accessories of a given object or phenomenon to any kind or class, physical characteristics and, finally, holistic recognition object. Thus, the process of cognition begins with the perception of the phenomenon, and then the essence, and not vice versa.

In a work of art, the corresponding pair of concepts essence and phenomenon will be a pair content and form. Therefore, perceiving a work of art, we first perceive its constituent forms, which, uniting into a system, allow us to judge the content of this work of art.

Sometimes a specific feature of an aesthetically perceived object can be perceived separately. Listening to music played on some instrument, we can be captured by the special warmth of the timbre, leaving aside our perception of all other characteristics of the perceived music.

However, the nature of interaction can be different and presented in different forms: from theoretical to practical (utilitarian).

The utilitarian attitude is the first sign of the emerging contact of the subject with the object - internal and external. It is represented by the sensual reaction of the subject at the biological level. Next comes the awareness of the subject of their sensations. This is a more complex process, which includes not only a sensory-biological, but also a rational reaction. In this case, the attitude is still mostly utilitarian in nature.

At the next stage, what was called catharsis by the brilliant Aristotle (the transition of one into another, a qualitative change in the experienced) is carried out. This qualitative change determines the transition of the utilitarian into the aesthetic. The feeling of a biological nature becomes spiritual. What is perceived is not just rationally-theoretically evaluated, but acquires a new quality. A sign of this may be the emergence of the response of the subject at the personal level. A person who perceives gets the opportunity to respond to what he perceives from the position of manifestation in himself of the Human, the highest spiritual principle. Therefore, the aesthetic attitude is associated with the familiarization of the individual with spiritual values ​​and the opportunity to realize their personal potential in the world. This is such a relation of a person to a perceived object, when the sensory reaction is correlated with the criterion of aesthetic evaluation. Aesthetic attitude is the result of the correlation of the desired and the actually perceived. At the same time, there is no specifically utilitarian in the aesthetic, since the aesthetic is different. lack of interest(I. Kant) or disinterestedness(N. Chernyshevsky), while the utilitarian is a manifestation of the highest practical interest of the subject in the object.

On the other hand, the aesthetic does not contain the specifically theoretical, since the aesthetic attitude is distinguished by being experienced, and not comprehended. Therefore, it is senseless to single out theoretical and utilitarian separately in aesthetic terms, since both levels are synthesized in it into a new quality, characterized as conscious enjoyment.

The subject of aesthetic attitude acts as a unity rational And emotional, mind And feelings. The subject, as well as the object, can be identified the most significant characteristics of aesthetic perception, which can also be built in a certain hierarchy: sensation, perception, idea, notion.

When they talk about the subject of an aesthetic relationship, they mean its spiritual and physical aspects. The aesthetic attitude includes a fusion of the sensual, the intuitive, and the rational. The originality of this complex determines the peculiarity of the human personality and is the basis of its aesthetic response to the object of perception.

The rational in a person is largely due to the specifics of his spiritual originality (ideal). The sensual in a person is represented to a greater extent by his physiological capabilities (real). The intuitive is due to the ability of a person to predict, figuratively model what is desired. It is common for a person, as a subject of an aesthetic attitude, to experience different states, sometimes gravitating towards the rational-spiritual pole, and sometimes towards the physiological one.

Therefore, it can be considered that the aesthetic relation has one important distinguishing condition for its realization - it has a disinterested character. Aesthetic attitude provides and implements the transition of sensory-biological experience to the spiritual realm. The perception of an object is connected with the processes of transition of response to its individual characteristics to rational awareness of the object as an integrity or sensory response to a specific feature to their conscious-semantic (rational) comprehension.

Aesthetic attitude is considered by modern science as a unique emotional and value spiritual phenomenon, a universal way of human interaction, solving the problem of personal meaning and self-realization, with the outside world and culture.

Aesthetic attitude is manifested and formed in aesthetic activity. Aesthetic activity is universal, it includes: artistic and practical, artistic and creative (creation of various works of art), artistic and technical, artistic and receptive (perception of art), receptive and aesthetic (perception of the beauty of nature), spiritual and cultural (development of personal taste, aesthetic assessments, judgments, ideals), theoretical (elaboration of aesthetic concepts and views). Aesthetic development of the world is based on the whole variety of aesthetic properties of reality. “The crowning achievement of aesthetic activity is art. Here the reality of a person rises to artistic creativity ... ”(Yu.B. Borev). activity aesthetic spiritual

Philosophers constantly return to the consciousness that to unravel the mystery of man means to unravel the mystery of being. “Know yourself and through this you will know the world. All attempts at external knowledge of the world, without immersion into the depths of man, gave only knowledge of the surface of things. If you go from a person outside, then you can never reach the meaning of things, because the clue to the meaning is hidden in the person himself ”( Berdyaev N.A.). “The very consciousness of man as the center of the world, concealing in itself the solution of the world and rising above all things in the world, is the prerequisite for any philosophy, without which one cannot dare to philosophize” [ibid.]. According to N.A. Berdyaev, the anthropological path is the only way to know the universe, and this path presupposes exceptional human self-knowledge. “Man is a small universe, the microcosm is the basic truth of the knowledge of man and the basic truth, assumed by the very possibility of knowledge.”

One of the ways of knowing the world through self-knowledge is artistic creativity. Artistic creativity is considered in philosophy, psychology and pedagogy as the highest form of aesthetic activity, in which aesthetic knowledge and creation are carried out on the basis of the development and development of existing forms of culture, as a result, an aesthetic attitude of a person to the world around is formed. Artistic perception and creativity are a channel of contact between the “deep” and the “top”, their mutual transition into each other. The artist singles out a thing from a number of other things, from the ordinary cycle of phenomena and events, "raises" it above everyday life. There is that “short circuit” of the universal to the individual, which is carried out by the power of the imagination (E.V. Ilyenkov).

In creativity, there is an comprehension of beauty - one of the universal forms of everything that exists. “In everyday life, beauty is most often not isolated from a holistic perception of the surrounding world, but serves as a continuation of the general picture that is born on the basis of understanding the world” (P.S Gurevich). Humanized nature, art, man - everything is evaluated according to the laws of beauty. The perception of beauty and its numerous varieties is not connected with utilitarian needs, therefore beauty is disinterested.

Creativity is understood today as the main way of existence and development of a personality (N.N. Poddyakov. Therefore, a full-fledged personality is always a creative, developing personality, which is characterized by the emergence of more and more new psychological neoplasms and the restructuring of already established structures. K. Rogers gave a general characterization of a creative person “with his receptive openness to the world, with his faith in his ability to form new relationships with others”, who will not necessarily be “adapted” to his culture, but in any culture he will live creating, in harmony with his culture.

Creativity unites various spheres of the mental: activity, process, attitude and personality (A. Maslow). A. Bergson identifies creativity with the processes of perception and creation of a new form: “Every human work that contains a certain amount of invention, every arbitrary action that contains a certain amount of freedom, every movement of the organism that testifies to spontaneity, brings something new to the world. True, this is only the creation of form. And further: "... to a certain extent, we are what we do, and that we create ourselves continuously" [ibid.]. The creative process is a kind of qualitative transition from the already known to the new and unknown. Creativity is a special form of the development process, it is dialectical and contradictory. Creativity is an integrative phenomenon in which a “meeting” of the objective and subjective worlds takes place.

In turn, creativity (from the English creativity, which means "creativity", the ability to creative activity) is an immanent property of the mental (V.V. Davydov, V.T. Kudryavtsev, F.T. Mikhailov). Creativity is considered not as a separate mental process, but as a consequence of the initial internal involvement of the mechanisms of imagination (or formations close to them) in the process of onto- and functional genesis of various mental phenomena. The concept of "creativity" is closely related to creative abilities - universal abilities that allow not only to achieve high results in reproductive activity, but also to create a new product that is distinguished by novelty and originality.

An analysis of many historical facts indicates that the main technological technique of a human creator (as a discoverer, creator, seeker of truth, and even in some cases a debunker) is mastering the ability to move freely through information fields. At the same time, the absence of negative feelings about oneself plays an important role, since the potential for creative growth is revealed by positive examples and by stimulating strengths.

In a situation of an acute social order to study the problem of creative abilities, D. Guildford moved away from the classical division of thinking into inductive and deductive, which represent only unidirectional - convergent - thinking. D. Gilford singled out a fundamentally different type of thinking - divergent, acting as a pair in the convergent / divergent dichotomy. Divergent thinking is not directed thinking, but the ability to think in breadth, which allows you to go beyond the limits of the once chosen direction for solving the original problem (taking into account the vision of other attributes of the object). Many modern psychologists treat creativity and divergent thinking as synonymous.

Creative potential is an attribute of personality (according to A.V. Brushlinsky, V.T. Kudryavtsev). It is imagination that determines that “unity of affect and intellect” (L.S. Vygotsky), which to a certain extent constitutes the integrity of the personality and is already manifested in the “intelligent emotions” (A.V. Zaporozhets) of a preschooler (E.E. Kravtsova, V. T. Kudryavtsev).

Personality is the subject of the creation of new forms of culture (E.V. Ilyenkov, V.V. Davydov, V.T. Kudryavtsev), i.e. common and significant for other people, in which he is ideally represented (V.A. Petrovsky), and at the same time - the subject of self-change, self-development, self-creation.

Art as the main means of aesthetic education and development of children is associated with a figurative knowledge of life. Artistic images evoke vivid aesthetic experiences, activate cognitive interests, and contribute to the identification and development of various abilities. Art and the potential of imagination accumulated in it are, according to L.S. Vygotsky, not just a means of socialization of "raw", "natural" affect, "public technique of feelings", but contains a mechanism for generating "top" tribal human experiences and relationships and creates the basis for harmonizing intellect and affect.

Since the modern social situation is characterized by negative manifestations of the emotional rejection of society, aesthetic activity should be considered as an opportunity to improve a person’s ability to perceive, correctly understand, appreciate and create beauty in life and art, actively participate in creativity, the creation of beauty in the surrounding reality.

Social expectations from aesthetic activity are high, since it translates the dominants of modern pedagogy: the principles of relevance, target orientation, ethics, contextuality, aesthetics, based on the rules and norms of behavior that are tested in society, tested by time. This takes into account the socio-pedagogical aspects of aesthetic activity: purpose (ensuring the continuity of generations); structure (acquisition of experience and corresponding development of the personality); method of implementation (aesthetically colored life of students); source (social relations, communication of people).

Introduction

Perception is a reflection by a person of an object or phenomenon as a whole with its direct impact on the senses. Perception, as a sensation, is connected, first of all, with the analytical apparatus through which the world affects the human nervous system. Perception is a collection of sensations. So, for example, perceiving a morning landscape, a person reflects it in sensations, its color of a tree, the smell of a forest, dew on the grass feels its monumentality, inviolability. However, perception is more than the sum of the sensations received. Perceiving a forest, a person knows that it is a forest, that it has a characteristic appearance, that one can enter it, that it is a certain number of trees. A person always designates what he perceives with a certain word - “forest”, which designates not any particular color, shape or smell, but everything as a whole.

The child, with the help of the senses, perceives a variety of properties, natural objects: shape, size, sounds, colors, spatial position, movement, etc. He forms specific initial and vivid ideas about nature, which later help him to see and understand the connections and relationships of natural phenomena, to learn new concepts.

The urgency of the problem. In recent years, attention has increased to the problems of the theory and practice of environmental education as the most important means of forming an aesthetic attitude to reality. Nature is the most important means of aesthetic education of children of primary school age.

The period of primary school age is characterized by the active cognitive and aesthetic activity of the child, the intensive development of the intellectual and emotional-sensual spheres, the formation of self-knowledge, the development of universal values, various social roles. The relationship of children with nature is sensitive, cognitively and emotionally significant (T.A. Babanova, A.N. Zakhlebny, A.A. Makarov). The authors note that the accumulation of ideas about the surrounding world in the lessons, the understanding of the interactions of natural phenomena underlies the subsequent formation of ideas about the world around children. Today, the content of natural history is part of the content of the educational component "The World Around". The methodological basis of the lessons of the surrounding world is made up of three groups of knowledge: man, nature, society. This is how the integration of natural science and social science knowledge takes place in order to form in children a holistic view of the world around them and a person’s place in this world. The problem of developing spiritual, non-pragmatic needs in students in interaction with the environment and forming an attitude towards it as a value becomes relevant. In this regard, the development of aesthetic perception of nature is important in the environmental education of children.

Object of study: the process of familiarization of the younger student with the outside world.

Subject of research: development of aesthetic perception of nature

Purpose: to study the effectiveness of the influence of the lessons of the integrated course "The World Around" on the development of the aesthetic perception of nature by younger students.

To achieve the goal of the study, it is necessary to solve the following tasks:

1.To study the psychological, pedagogical, methodological literature on the research problem.

2.To reveal the aesthetic properties of nature in the formation of a positive attitude towards the world around the younger student.

.Consider the techniques, forms, methods of aesthetic education of children of primary school age in the lessons of the world around

.Conduct a study to identify the level of development of aesthetic perception.

Based on the purpose and objectives of the study, the following hypothesis is put forward: the development of aesthetic perception of the surrounding world by younger students will be successful if favorable pedagogical conditions are created that will influence the ecological consciousness of younger students.

The methodological basis of the study is the analysis of pedagogical psychological literature; observation of the educational process in the studied classes; experimental training and data processing. As well as the provisions of T.A. Babanova, A.N. Zakhlebny, A.A. Makarova, L.V. Moiseeva, N.A. Ryzhova, L.P. Saleeva and others.

To solve the tasks set, the following research methods were used:

Analysis of psychological, pedagogical, methodological literature;

observation of the learning process in the lessons of the world around;

pedagogical experiment;

testing;

statistical processing.

The theoretical significance is to identify some ways of applying the methods in the current stage of teaching younger students.

The practical significance of the study lies in the fact that the results of the study can be used by students, methodologists and teachers in practical pedagogical activities.

Experimental base: 2 "in" class NPSOSh No. 2 in Yakutsk.

The structure of the study: the thesis consists of an introduction, two chapters, a conclusion, a list of references and an appendix.

The first chapter "Theoretical Foundations for the Development of Aesthetic Perception of Nature in the Lessons of the Integrated Course "The World Around" reveals the concept, goals and objectives of aesthetic education, the relationship between man and nature, especially the aesthetic perception of the world around younger students.

In the second chapter "Experimental work on the development of aesthetic perception in the lessons" World around "experimental work, methods of observation, analysis and results of the study are revealed and described.

Chapter 1

In this chapter, we will consider the main theoretical approaches of domestic and foreign teachers and psychologists to the problem of aesthetic perception of younger students, reveal the concept of "aesthetic perception", identify its purpose, objectives, consider the main categories of aesthetic perception and their features in primary school age, as well as ways and means of aesthetic perception. We will reveal the relationship of nature with aesthetic perception.

1.1Nature as an aesthetic value

Nature is the most important means of education and development of children of primary school age. How many discoveries a child makes by communicating with her!

Children communicate with nature at different times of the year - both when fluffy snow lies around, and when gardens bloom. Thus, the child, with the help of the senses, perceives a variety of properties, natural objects: shape, size, sounds, colors, spatial position, movement, etc. He forms specific initial and vivid ideas about nature, which later help him to see and understand the connections and relationships of natural phenomena, to learn new concepts. Many are in the process of observation. This enables the teacher to develop logical thinking in students.

The communication of children with nature also has an ideological and ideological significance. The accumulation of real, reliable ideas, understanding of the interactions of natural phenomena underlies the subsequent formation in children of elements of a materialistic worldview.

A variety of natural objects allows the teacher to organize interesting and useful activities for children. In the process of observing, playing and working in nature, children get acquainted with the properties and qualities of objects and natural phenomena, learn to notice their change and development. They develop curiosity.

Respect for nature depends on the ability to perceive it aesthetically, i.e. be able to see and experience the beauty of nature. Aesthetic perception is provided by direct alive communication of children with nature. Observation of the beauty of natural phenomena is an inexhaustible source of aesthetic impressions. It is important to show children the aesthetic qualities of natural phenomena, to teach them to feel the beauty, to evoke value judgments associated with experiencing the beauty of the observed phenomena.

The main task in the development of the aesthetic perception of nature is the awakening in children of an emotional attitude towards it. Emotional attitude to nature helps to make a person higher, richer, more attentive.

Nature is one of the factors influencing the development and formation of aesthetic feelings, it is an inexhaustible source of aesthetic impressions and emotional impact on a person. In people's lives, nature occupies a significant place, contributes to the formation and development of aesthetic feelings and tastes.

During the period of transition to new curricula and programs, the issues of harmonizing the relationship of society with the environment, the formation and formation of a responsible attitude towards it are of particular importance. The foundation for a responsible attitude to the environment is laid in elementary school, so the success of environmental education largely depends on the first stage of schoolchildren's education.

The following goals underlie the construction of modern courses with an environmental focus:

formation of a holistic view of the natural and social environment as an environment for human life, work and recreation;

development of the ability to perceive the surrounding world through the senses and cognitive interest and the ability to causal explanation in the analysis of facts and phenomena of the surrounding reality;

teaching younger schoolchildren methods of cognition of the world around them;

education of an aesthetic and moral attitude to the environment of human life, the ability to behave in it in accordance with universal norms of morality.

Perception is a collection of sensations. So, for example, perceiving a morning landscape, a person reflects it in sensations, its color of a tree, the smell of a forest, dew on the grass feels its monumentality, inviolability.

Perception provides knowledge of nature in all natural and aesthetic integrity, and imagination is intended to foresee all the consequences of human activity in the process of communication with nature, people's interference in the life of Nature. The feeling of nature is a manifestation of the synthesis of human qualities, when people consciously strive for unity with nature or unconsciously act as a particle of nature. Feeling is a very strong mental property, thanks to which a person can refuse the upcoming action if it somehow violates the life of Nature.

The well-known psychologist S.L. Rubinshtein emphasizes the interdependence of the beautiful and its reflection by a person: ... nature is beautiful, and not only experiences, perception of a person. This is not its own objective property, but it is a quality that characterizes nature in a certain system of connections and relationships, the one in which man is included. . At the same time, the features of the relationship between the aesthetic and ecological attitudes appear in the following form: the aesthetic, as a statement of the existence of an object, is a prerequisite for the ethical, as a statement of its significance for a person. And yet the original the ability to see the aesthetic, the beautiful in nature, sensitivity to it.

The problem of aesthetic perception is quite fully developed in domestic and foreign literature. Aesthetic attitude to the environment is formed in a person almost throughout his life and especially intensively during school years. Adults and children are constantly faced with aesthetic phenomena. In the sphere of spiritual life, everyday work, communication with art and nature, in everyday life, in interpersonal communication - everywhere the beautiful and the ugly, the tragic and the comic play an essential role. Beauty gives pleasure and pleasure, stimulates labor activity, makes meeting people pleasant. The ugly repels. Tragic - teaches sympathy. Comic - helps to deal with shortcomings.

The ideas of aesthetic perception originated in ancient times. Ideas about the essence of aesthetic perception, its tasks, goals have changed since the time of Plato and Aristotle up to the present day.

In our time, the problem of aesthetic perception, personality development, formation, its aesthetic culture is one of the most important tasks facing the school. This problem has been developed quite fully in the works of teachers and psychologists. Among them, D.B. Kabalevsky, B.T. Likhachev, A.S. Makarenko, B.M. Nemensky, V.A. Sukhomlinsky, V.N. Shatskaya, I.F. Smolyaninov and others.

B.M. Nemensky defines aesthetic perception as the ability to perceive, correctly understand, appreciate and create the beautiful and sublime in life and art.

However, perception is more than the sum of the sensations received. Perceiving a forest, a person knows that it is a forest, that it has a characteristic appearance, that one can enter it, that it is a certain number of trees. The formation of aesthetic feelings and ideas of children, familiarization with the beautiful is carried out in a certain system, in various activities, with the perception of the surrounding reality. Creating a store of aesthetic knowledge, enriching artistic impressions is the first task of aesthetic education and the most successful solution in the process of direct contact of the child with aesthetic phenomena in the surrounding life and nature.

The direct perception of nature and the indirect aesthetic attitude towards it through art throughout the history of mankind has shaped people's sense of beauty and aesthetic taste, that is, the understanding of beauty and the ability to enjoy beauty, as well as the need for such enjoyment and for the universal creativity of beauty. Nature provided forms not only for its own reproduction, but also for the artistic recreation of people's social existence.

Nature constantly surrounds the child, enters his life very early. She is attractive to him, first of all, thanks to her colorful world, which gives the baby a lot of vivid impressions, causing joyful experiences. But nature reveals its value side not to all people, but only to those who are able to perceive it from an aesthetic point of view. This ability develops in the process of education and training.

In the works of Grigorieva L.I. the hypothesis was approved that in the formation of ecological consciousness, Nature itself is of great importance, as a natural factor that forms the emotional-sensory component. In nature itself there is an active principle capable of awakening in a person a sense of an adequate attitude towards Nature as towards himself.

Aesthetic perception is, first of all, actualization, practical disclosure of aesthetic feeling. Until the moment of meeting with the object, the aesthetic feeling is in a dispositive, latent (hidden) form, and when the object appears directly, it goes into an active state. In this experience, two interconnected content structures are manifested in a single process: the perception of the aesthetic properties and qualities of the object and the level of aesthetic preparedness of the subject of perception.

Imagine two people who, under the same circumstances and goals, are walking through the forest. One of them is surprised at the shape of the trees, inhales the smells, notices how the cobwebs silver in the sun; his soul is filled with poetry, everything seems to him new, unexpected, prompts reflections. Another sees an ordinary forest, familiar trees, cobwebs sticking to clothes. He is well aware of their existence and may well distinguish oak from aspen, but the surrounding does not cause emotions in him. He is absorbed in the very factor of walking, and if he walked, say, on the sidewalk, it still would not change his attitude to life for a second. Such a person rarely admires the sunrise, always accurately retells the contents of the book, without saying a word about what excited him.

This example makes it possible to imagine the depth of the differences that exist between the two principles of perception: the abstract perception of things as objects and the emotional perception of them as phenomena.

Nature as a factor in aesthetic education was highly valued by K.D. Ushinsky: “... I learned from the impressions of my life a deep conviction that a beautiful landscape has such a huge educational influence on the development of a young soul, which is difficult to compete with the influence of a teacher.” There is beauty here. It manifests itself in the form of strength, dexterity, lightness, speed, grace, power. In order to learn to appreciate the beauty of plant forms, the gracefulness of animals, the contrasts of color and light, the harmony of sounds, it is necessary to connect both feeling and abstract-logical thinking to cognition. The awakening of the aesthetic sensitivity of children is facilitated by involving them in observing nature, special aesthetic-cognitive tasks and exercises, and a number of problematic situations. This encourages students to perceive, comprehend, evaluate cognizable objects as beautiful and expressive.

Academician B.G. Likhachev believes that each age period of childhood requires a special specific basis for expressing ideals that are formed on the basis of the child's ideas. The aesthetic properties of a person are not innate, but begin to develop from a very early age in a social environment and active pedagogical leadership. In the process of aesthetic development, children gradually master the aesthetic culture of society, the formation of aesthetic perception, as well as ideas, concepts of judgments, interests, needs, feelings. One of the important aesthetic feelings of a child is a feeling of love for nature. The aesthetic perception of nature evokes in children feelings of careful, caring attitude towards plants and animals.

The feeling of love for nature is formed through the perception of the natural world, which includes the aesthetic level of perception of nature; responsiveness to vital manifestations of natural objects; aesthetic exploration of nature; knowledge of the natural world with the processing of the information received; practical interaction with the natural world.

A person who has all the components of ecological culture, when communicating with nature, can give a psychological and emotional assessment of its perception, causing in himself certain feelings in relation to the natural world (positive, negative, neutral) and, thereby, cultivating a love for nature. In order for an ecologically cultural person to have certain feelings in relation to the natural world, it is necessary to influence him both negative and positive natural reactions (factors) of the natural world.

Of the many manifestations of the beauty of nature, people perceive what corresponds to their worldview and mood. The appearance of nature, if it is not changed by man, remains practically constant. The ability to see nature is the first condition for educating the worldview of unity with it, the first condition for educating through nature. It is achieved only through constant communication with nature.

Yu.D. Dmitriev sees the goal of aesthetic education in the formation of the ability to enjoy the beautiful; fixing impressions in emotional memory on the beautiful in life; in a penchant for beauty; active aesthetic position. It is difficult to imagine the aesthetic education of children without involving nature as an assistant to the educator - this most natural source of beauty.

Currently, scientific research is being carried out on the influence of aesthetic education on the comprehensive development of the personality, including its humanistic properties. Not only a direct dependence of the aesthetic development of the individual on the holistic educational process of the school has been established, but also an inverse relationship, when aesthetic education is a factor that optimizes the educational process. The ability to see nature is the first condition for educating the worldview of unity with it, the first condition for educating through nature. It is achieved only through constant communion with nature. In order to feel like a part of the whole, a person must not episodically, but constantly be in a relationship with this whole.

Aesthetic interests and needs, as well as aesthetic abilities, serve as an indicator of a person's aesthetic attitude to the world. Beauty in nature is limitless and inexhaustible. Therefore, nature is the source for art. Beauty in nature has been and remains the subject of its artistic development. Therefore, great artists are always pioneers of beauty in the world around them.

Nature is one of the factors influencing the development and formation of aesthetic feelings, it is an inexhaustible source of aesthetic impressions and emotional impact on a person. In people's lives, nature occupies a significant place, contributes to the formation and development of aesthetic feelings and tastes. Environmental education is a continuous process of learning, upbringing and development of the individual, aimed at the formation of a system of scientific and practical knowledge, value orientations, behavior and activities that ensure a responsible attitude of a person to the natural environment. This is the definition given by A.N. Suffocating is the most complete and generally accepted.

Aesthetic feelings are closely connected with moral values. Love for the Motherland is a complex moral feeling, which is organically connected with the aesthetic feelings caused by communication with nature. To love nature, one must know it, and in order to know, one must study it. In the process of knowing nature, aesthetic feelings and tastes are formed and developed. The perception of the aesthetic phenomena of nature and the experiences arising from this depend on the circle of ideas, meanings and the general development of a person.

In addition to pedagogical approaches, there are also psychological ones. Their essence lies in the fact that in the process of aesthetic perception, the aesthetic consciousness is formed in the child. Aesthetic consciousness is divided by educators and psychologists into a number of categories that reflect the psychological essence of aesthetic perception and make it possible to judge the degree of a person's aesthetic culture. Most researchers distinguish the following categories: aesthetic taste, aesthetic ideal, aesthetic evaluation. D.B. Likhachev also distinguishes aesthetic feeling, aesthetic need and aesthetic judgment.

The formation of the idea of ​​nature could not but be accompanied, as the study of the history of aesthetic thought and the history of art, the formation of the idea of ​​beauty, this criterion for the total and universal assessment of both the phenomena of the external world themselves and their relationship to man. The idea of ​​beauty in its aspect of obligation and universal validity acts as a universal value. But in fact, nothing, including value, is universal. Universality is comparable to nature as the ultimate concept, when nature is understood as the cosmos, as "everything". In fact, the categories of aesthetic value are applied to nature in the ordinary sense. Kant, for example, argued that the singing of people is boring, the singing of birds - never. It is obvious that another limit, like a circle oscillating around immovable universally significant objects, will be the idea of ​​the ugly: such an assessment can mean both empirical objects and products of the imagination - monsters, horrors, demons, "hungry ghosts", etc.

The value order is dynamic, its implementation includes other aesthetic values. The latter may correspond to aesthetic concepts of a more particular rank, such as "elegance", "expressiveness", "noble simplicity", "picturesqueness", "musicality", etc. By all these criteria, you can evaluate a variety of objects; therefore, they act in this case as values.

Value is a universally significant desirable, something that is recognized by everyone as worthy of existence, something that should exist and for which one acts. The same aesthetic concepts that simply state the presence of certain qualities can also be values, when they reveal the aspect of obligation, they become vector concepts. Usually, when speaking about the aesthetic value of nature, they mean nature as a human environment, and above all, landscape, landscape. Even with such an ordinary understanding of nature, the value order shines through in art in various aspects. For example, in painting, in a landscape, one can show, as it were, the life of nature itself or express the mood of a person through the display of nature; the landscape may be a symbol or an allegory of a more abstract meaning. However, in order to apply the concept of aesthetic value to the phenomena of nature or to nature in general, it is necessary to clarify what is appropriate to understand by "nature" in aesthetics.

For aesthetics, the division of nature into living and dead is especially significant. This is one of its most significant meanings. And for a person there is nothing more natural than life and death. Life is “innate” to him, and nature has put a limit on it. This is the closest nature of any human being. He meets all the rest of it ("environment") through the nearest nature - his living body. Therefore, the body is the first natural aesthetic object, and it is also the measure of aesthetic value. It is also the most important object of art. It is known that there is a practice of both positive and negative assessment of the body, its justification and condemnation. So, the concept of nature is the most abstract in philosophy, it is one of the ultimate concepts. When it is not clear or difficult to find the basis of certain phenomena, then they say that these phenomena are "such by nature".

The problem of an aesthetic attitude to nature arose as a reaction to an extra-value scientific attitude to it. At one time, V.I. Vernadsky attached excessive, "geological" significance to science, believing it to be the leading factor of spiritual activity, truly creative, and all other manifestations, including religion, art and philosophy, being driven. The cultural value of science is recognized as self-sufficient, it is abstracted from the values ​​of other forms of social consciousness, including moral and aesthetic ones; this distraction was the condition for the progress of science. Such a special "cultural asceticism" of science, its, so to speak, insensitivity to other manifestations of spiritual life has its consequences for culture as a whole and for the individual human person.

A rich emotional world allows the student, not yet having a consciousness of the aesthetic value of this or that object or phenomenon, to see the world aesthetically, in all its diversity. He directly perceives harmony, feels beauty even in prosaic things.

It is in the aesthetic perception of the child, which is not normalized by any canons, that the main reason for his active attitude to the world lies. In an adult who has a conscious attitude towards an object, aesthetic perception is often self-sufficient and comes down to superficial admiration, to a passive, and sometimes to a consumer attitude towards beauty. The child is trying to overcome his ignorance. Uncertainty pushes him to search for the necessary aesthetic meaning. He strives to test his experiences in real action, to find an adequate form of expression for them. Without this search, mental efforts, aesthetic perception is formal and does not affect the essence of the object.

Thus, natural nature as an aesthetic value is one of the most important criteria for the personal development of a child. The formation of an aesthetic attitude to nature is influenced by the child's experience of interacting with the outside world, the need to communicate with representatives of the animal and plant world, empathy for them, the manifestation of kindness, sensitivity. It is also necessary that the learning stage reveals the nature of abstract concepts and symbols for the student, organizes the natural process of cognition, in which emotional-figurative memory and creative thinking develop.

1.2Features of the aesthetic perception of the world in primary school age

In this paragraph, the subject of consideration will be those age-related features that are inherent in the younger student and which should be taken into account in the development of his aesthetic perception.

In our time, the problem of aesthetic perception, personality development, formation, its aesthetic culture is one of the most important tasks facing the school. This problem has been developed quite fully in the works of domestic and foreign teachers and psychologists. Among them are B. T. Likhachev, A. S. Makarenko, B. M. Nemensky, V. A. Sukhomlinsky, V. N. Shatskaya, I. F. Smolyaninov, O. P. Kotikova and others.

We have already noted that it is very difficult to form aesthetic ideals, artistic taste, when the human personality has already taken shape. Aesthetic development of personality begins in early childhood. In order for an adult to become spiritually rich, special attention must be paid to the aesthetic education of children of primary school age. B.T. Likhachev writes: "The period of primary school childhood is perhaps the most decisive in terms of aesthetic education and the formation of a moral and aesthetic attitude to life." The author emphasizes that it is at this age that the most intensive formation of attitudes to the world takes place, which gradually turn into personality traits. The essential moral and aesthetic qualities of a person are laid down in the early period of childhood and remain more or less unchanged throughout life. And in this regard, this is the most suitable time for the development of aesthetic perception.

There are many definitions of the concept of "aesthetic perception", but, having considered only some of them, it is already possible to single out the main provisions that speak of its essence.

First, it is a targeted process. Secondly, it is the formation of the ability to perceive and see beauty in art and life, to evaluate it. Thirdly, the task of aesthetic perception is the formation of aesthetic tastes and ideals of the individual. And, finally, fourthly, the development of the ability for independent creativity and the creation of beauty.

A peculiar understanding of the essence of aesthetic perception also determines different approaches to its goals. Therefore, the problem of the goals and objectives of aesthetic education in order to develop perception requires special attention.

It is impossible, or at least extremely difficult, to teach a young man, an adult, to trust people if he was often deceived in childhood. It is difficult to be kind to someone who in childhood did not partake of sympathy, did not experience childhood direct and therefore indelibly strong joy from kindness to another person. It is impossible to suddenly become courageous in adulthood, if in preschool and primary school age you have not learned to express your opinion decisively and act boldly.

The course of life changes something and makes its own adjustments. But it is precisely in preschool and primary school age that the development of aesthetic perception is the basis of all further pedagogical work.

One of the features of primary school age is the arrival of the child in school. He has a new leading activity - study. The main person for the child is the teacher. “For children in elementary school, the teacher is the most important person. Everything for them begins with a teacher who helped them overcome the first difficult steps in life... “Through him, children learn the world, the norms of social behavior. The views of the teacher, his tastes, preferences become their own. From the pedagogical experience of A.S. Makarenko knows that a socially significant goal, the prospect of moving towards it, with an inept setting in front of children, leaves them indifferent. And vice versa. A vivid example of the consistent and convincing work of the teacher himself, his sincere interest and enthusiasm easily raise children to work.

The next feature of the development of aesthetic perception in primary school age is associated with the changes taking place in the field of cognitive processes of the student. For example, the formation of aesthetic ideals in children, as part of their worldview, is a complex and lengthy process. This is noted by all the educators and psychologists mentioned above. In the course of education, life relationships, ideals undergo changes. Under certain conditions, under the influence of comrades, adults, works of art, nature, life upheavals, ideals can undergo fundamental changes. "The pedagogical essence of the process of forming aesthetic ideals in children, taking into account their age characteristics, is to form stable meaningful ideal ideas about society, about a person, about relationships between people, from the very beginning, from early childhood, doing this in a diverse, changing each stage in a new and exciting form," notes B.T. Likhachev.

For preschool and primary school age, the leading form of acquaintance with the aesthetic ideal is children's literature, animated films, films and photographs in books. From the early school age, changes in the motivational sphere take place. The motives of children's attitude to art, the beauty of reality are recognized and differentiated. D.B. Likhachev notes in his work that a new, conscious motive is added to the cognitive stimulus at this age. This is manifested in the fact that "... some guys relate to art and reality precisely aesthetically. They enjoy reading books, looking at illustrations in them, listening to music, drawing, watching a movie. They still do not know that this is an aesthetic attitude. But an aesthetic attitude to art and life was formed in them.The craving for spiritual communication with art gradually turns into a need for them.

From the early school age, changes in the motivational sphere take place. The motives of children's attitude to art, the beauty of reality are recognized and differentiated. D.B. Likhachev notes in his work that a new, conscious motive is added to the cognitive stimulus at this age. This is manifested in the fact that "... some guys relate to art and reality precisely aesthetically. They enjoy reading books, listening to music, drawing, watching a movie. They still do not know that this is an aesthetic attitude. But they have formed an aesthetic attitude to art and life.The craving for spiritual communion with art gradually turns into a need for them.

Other children interact with art outside of a purely aesthetic relationship. They approach a work rationalistically: having received a recommendation to read a book or watch a movie, they read and watch them without a deep understanding of the essence, only in order to have a general idea about it. "And it happens that they read, watch or listen for prestigious reasons. Knowledge teacher of the true motives of children's attitude to art helps to focus on the formation of a truly aesthetic attitude.

The feeling of the beauty of nature, surrounding people, things creates special emotional and mental states in the child, arouses a direct interest in life, sharpens curiosity, thinking, and memory. In early childhood, children live spontaneous, deeply emotional lives. Strong emotional experiences are stored in memory for a long time, often turn into motives and incentives for behavior, facilitate the process of developing beliefs, skills and habits of behavior. In the work of N.I. Kiyashchenko quite clearly emphasizes that "the pedagogical use of the child's emotional attitude to the world is one of the most important ways of penetrating into the child's consciousness, its expansion, deepening, strengthening, construction." He also notes that the emotional reactions and states of the child are a criterion for the effectiveness of aesthetic education. "The emotional attitude of a person to a particular phenomenon expresses the degree and nature of the development of his feelings, tastes, views, beliefs and will" .

Any goal cannot be considered without tasks. Most teachers (G.S. Labkovskaya, D.B. Likhachev, N.I. Kiyashchenko and others) identify three main tasks that have their own variants for other scientists, but do not lose their main essence.

So, firstly, it is "the creation of a certain stock of elementary aesthetic knowledge and impressions, without which there can be no inclination, craving, interest in aesthetically significant objects and phenomena."

The essence of this task is to accumulate a diverse stock of sound, color and plastic impressions. The teacher must skillfully select, according to the specified parameters, such objects and phenomena that will meet our ideas about beauty. Thus, sensory-emotional experience will be formed. It also requires specific knowledge about nature, oneself, about the world of artistic values. "The versatility and richness of knowledge is the basis for the formation of broad interests, needs and abilities, which are manifested in the fact that their owner in all ways of life behaves like an aesthetically creative person," notes G.S. Labkovskaya.

The second task of aesthetic perception is "the formation, on the basis of the acquired knowledge, of such socio-psychological qualities of a person that provide the opportunity to emotionally experience and evaluate aesthetically significant objects and phenomena, to enjoy them."

This task indicates that it happens that children are interested, for example, in painting, only at the general educational level. They hurriedly look at the picture, try to remember the name, the artist, then turn to a new canvas. Nothing amazes them, makes them stop and enjoy the perfection of the work.

B.T. Likhachev notes that "... such a cursory acquaintance with the masterpieces of art excludes one of the main elements of the aesthetic attitude - admiration." Closely related to aesthetic admiration is a general capacity for deep experience. “The emergence of a range of sublime feelings and deep spiritual pleasure from communicating with the beautiful; feelings of disgust when meeting with the ugly; sense of humor, sarcasm at the moment of contemplation of the comic; emotional upheaval, anger, fear, compassion, leading to emotional and spiritual purification resulting from the experience of the tragic - all these are signs of genuine aesthetic education, ”the same author notes.

A deep experience of aesthetic feeling is inseparable from the ability of aesthetic judgment, i.e. with an aesthetic assessment of the phenomena of art and life. A.K. Dremov defines aesthetic assessment as an assessment "based on certain aesthetic principles, on a deep understanding of the essence of the aesthetic, which involves analysis, the possibility of proof, argumentation." Compare with the definition of D.B. Likhachev. "Aesthetic judgment is a demonstrative, reasonable assessment of the phenomena of social life, art, nature." In our opinion, these definitions are similar. Thus, one of the components of this task is to form such qualities of the child that would allow him to give an independent, age-appropriate, critical assessment of any work, to express a judgment about it and his own mental state.

The third task of aesthetic perception is connected with the formation of creative ability. The main thing is to "develop such qualities as the needs and abilities of the individual, which turn the individual into an active creator, creator of aesthetic values, allow him not only to enjoy the beauty of the world, but also to transform it "according to the laws of beauty."

The essence of this task lies in the fact that the child must not only know beauty, be able to admire and appreciate it, but he must also actively participate in creating beauty in art, life, work, behavior, relationships. A.V. Lunacharsky emphasized that a person learns to fully understand beauty only when he himself takes part in its creative creation in art, work, and social life.

The tasks we have considered partially reflect the essence of aesthetic perception, however, we have considered only pedagogical approaches to this problem.

Each child develops thought in its own way, each is smart and talented in its own way. There is not a single child incapable, mediocre. It is important that this mind, this talent become the basis for success in learning, so that not a single student studies below his capabilities. Children should live in a world of beauty, games, fairy tales, music, drawing, fantasy, creativity. It is very important that children are not given the obligatory task of learning letters, learning to read. The first step in the child's cognition should be raised by their mental life, which would be spiritualized by beauty, fantasy, and the play of the imagination. Children deeply remember what excited their feelings, fascinated by beauty.

The life experience of a child at various stages of his development is so limited that children do not soon learn to single out aesthetic phenomena proper from the general mass. The task of the teacher is to instill in the child the ability to enjoy life, develop aesthetic needs, interests, bring them to the level of aesthetic taste, and then the ideal.

Aesthetic education is important for the subsequent full development of the student's personality, who takes the first steps on the huge ladder of education. It is designed to develop artistic tastes, ennobles a person. One of the paths to the harmonious, all-round development of the personality, to the formation of the ability to perceive, the rule to evaluate and create beauty in life and in art lies through aesthetic education. It is much easier to retrain a person from one specialty to another than to achieve changes in the system of ideas about good and bad, about beautiful and ugly.

Primary school age is called the pinnacle of childhood. The child begins to lose his childish spontaneity in behavior, he has a different logic of thinking. Teaching for him is a significant activity. At school, he acquires not only new knowledge and skills, but also a certain social status. The interests of the value of the child change. This is a period of positive change and transformation. Therefore, the level of achievements made by each child at this age stage is so important. If at this age the child does not feel the joy of learning, does not acquire the ability to learn, does not learn to make friends, does not gain confidence in himself, his abilities and capabilities, it will be much more difficult to do this in the future and will require immeasurably higher mental and physical costs.

The development in children of the ability to perceive, to understand the feelings of human spiritual moral beauty, simultaneously with the formation of their own aesthetic spirituality, is a complex, peculiar, unevenly flowing, dialectical, contradictory process that depends on specific conditions. Children of primary school age are more inclined to perceive and evaluate the external form, conspicuous harmony.

Thus, primary school age is a special age for the development of aesthetic perception, where the main role is played by the teacher. Taking advantage of this, skillful teachers are able not only to establish a solid foundation for an aesthetically developed personality, but also through the development of aesthetic perception in schoolchildren, to lay the true worldview of a person, because it is at this age that the child’s attitude to the world is formed and the essential aesthetic qualities of the future personality develop.

3Nature as a means of aesthetic perception in primary school age

It is difficult to imagine the aesthetic upbringing of children without involving nature as an assistant to the educator - this most natural source of beauty. Nature is not only a great teacher and a great educator. Nature better than anything enriches the child's psyche, improves his senses and aesthetic taste. Education of love for nature, the ability to feel its beauty and admire it is of great importance not only for the aesthetic development of children, but also for moral education, in particular, for awakening patriotic feelings in younger students, sensitivity to the environment, the need for work, contributes to physical hardening , as well as the expansion of mental horizons.

The ideas of aesthetic perception originated in ancient times. Ideas about the essence of aesthetic perception, its tasks, goals have changed since the time of Plato and Aristotle up to the present day. These changes in views were due to the development of aesthetics as a science and understanding of the essence of its subject. The term "aesthetics" comes from the Greek "aisteticos" (perceived by feeling). Materialist philosophers (D. Diderot and N. G. Chernyshevsky) believed that the object of aesthetics as a science is beauty.

This category formed the basis of the system of aesthetic perception. In our time, the problem of aesthetic perception, personality development, formation, its aesthetic culture is one of the most important tasks facing the school.

In the Concise Dictionary of Aesthetics, aesthetic perception is defined as "the ability to perceive, correctly understand, appreciate and create the beautiful and sublime in life and art." In both definitions, we are talking about the fact that aesthetic perception is the ability to perceive beauty in art and in life, to correctly understand and evaluate it. In the first definition, unfortunately, the active or creative side of aesthetic perception is missed, and in the second definition it is emphasized that aesthetic perception should not be limited only to a contemplative task, it should also form the ability to create beauty in art and life.

D.B. Likhachev in his book "The Theory of Aesthetic Education of Schoolchildren" relies on the definition given by K. Marx: "Aesthetic perception is a purposeful creative process, as a result of which a creatively active personality of a child is formed, capable of perceiving and evaluating the beautiful, tragic, comic, ugly in life and art , to live and create "according to the laws of beauty". The author emphasizes the leading role of perception in the aesthetic development of the child. For example, the development of a child's aesthetic attitude to reality and art, as well as the development of his intellect, is possible as an uncontrollable, spontaneous and spontaneous process. Communicating with aesthetic phenomena of life and art, the child, one way or another, develops aesthetically.But at the same time, the child is not aware of the aesthetic essence of objects, and development is often due to the desire for entertainment, moreover, without outside interference, the child may develop misconceptions about life, values, ideals.

B.T. Likhachev, as well as many other teachers and psychologists, believes that only a targeted pedagogical aesthetic and educational impact, involving children in a variety of artistic creative activities, can develop their sensory sphere, provide a deep understanding of aesthetic phenomena, raise them to an understanding of the true art, the beauty of reality and the beautiful in the human person.

Nature cannot protect itself from a barbaric, selfish, indifferent, passive attitude towards it, from hostile human actions and interference in the course of natural processes that cause the death of many plants and animals. In a moral society, a law on the protection of nature has been formulated, which must be carried out by every citizen of the country. The younger generation is being prepared for its fulfillment by all the content and forms of our life, especially by the conditions of the unified teaching and upbringing process of the school.

The full effect will be achieved when ecological consciousness and behavior become an integral part of the general culture of a young person. Teachers and educators are faced with urgent tasks of improving the forms of educational and extracurricular activities of schoolchildren aimed at forming a culture of relations with nature in accordance with the requirements of our society. The holistic, comprehensive development of the student's personality at all age stages includes, in particular, the formation of harmonious relationships with the environment, the correct value orientations in relation to nature, as well as high activity in behavior, socially useful work, and creativity. All this is of great social importance in the future professional activities of school graduates.

The problem of forming an aesthetic attitude to nature is only one of the aspects of the complex education of the culture of the younger generation. But its solution involves such significant areas of educational work as the formation of a scientific and materialistic worldview in the educational process, the development of the treasures of national and world culture, the comprehension of the riches of native nature, mastering the ways of their multiplication, the creative transformation of the natural environment, natural materials, artistic and aesthetic activity. , making feasible labor participation in the preservation and support of the natural environment. The commonality of the positions of the authors of monographs is based on the recognition of a necessary and urgent task - to develop an aesthetic attitude to nature in children of all ages, in various forms, by pedagogically appropriate means, as an important quality of the personality of a modern schoolchild. It is necessary to combine the possibilities of the impact of the natural content of the educational and cognitive process and the development of the aesthetic properties of the cognitive material, the aesthetic orientation of the perception and development of art, reflecting the beauty and characteristic of natural phenomena, as well as the knowledge of human ideals of relationships with nature, the significance of the diverse spiritual and practical refraction of the spiritual and practical refraction of their own real contacts with nature and the impressions received in the subsequent activities of children, in their work. All this is the basis for the formation of a culture of relations with nature as a social value.

A pedagogically expedient combination of environmental education and upbringing with the influence of art, with the upbringing of an aesthetic vision of nature, a creative attitude towards it will awaken in schoolchildren a sense of responsibility for the preservation of each of its objects and phenomena as a unique value and thereby contribute to the preservation of the natural environment. We need to work harder to protect nature. One of the conditions for the fight against violations of environmental standards (K. U. Chernenko) is the work of educating deep spiritual interests, respect for the preservation of nature, natural harmony and beauty among future workers of the national economy - today's schoolchildren.

The moral and aesthetic coloring of the motives of relations with nature increases the value of the environment for the individual, thereby creating a solid foundation for strengthening a careful, humane attitude to wildlife, to all natural elements. It is necessary to develop a sense of beauty, to form high aesthetic tastes, the ability to understand and appreciate works of art, the beauty and richness of native nature. At the same time, labor education is considered as the most important factor in the formation of the student's personality. Broad prospects are opening up for teachers in their creative search for ways and forms of educating a multifaceted responsible attitude to nature.

A large role in the aesthetic education of younger schoolchildren by means of nature belongs to the teaching staff of the school. They should be faced with the task of consistently, systematically, purposefully developing and improving the aesthetic tastes of children.

Primary schools solve specific tasks aimed at the aesthetic education of children: the development of the ability to feel and understand beauty in life and nature, respond emotionally to it, evaluate beauty, strive to the best of their ability to complement the beauty of the world around them.

V.M. Minaeva writes that primary school age is a stage in the formation of the foundations of a person's moral and ecological position, the manifestations of which have their own specifics on the three “growth stages” of this age period that we conditionally identified.

The basic level in the development of ecological education of a first-grader is the level acquired by him at preschool age.

The second stage of a child's development is associated with the acquisition of an environmentally oriented personal experience by him due to:

observations of various states of the environment, accompanied by explanations of the teacher in the lessons "World around";

initial assessments of people's activities (at the level of good - bad);

implementation of the rules of conduct proposed by the teacher; communication with representatives of the animal and plant world and emotional experiences on excursions;

aesthetic enjoyment of the beauty of nature and the creative embodiment of their impressions in oral stories, drawings; feeling the need for knowledge of environmental content;

careful attitude to used items, food, etc.;

monitoring the activities of adults to improve the environment and their own feasible participation in it.

V. I. Starostin writes that the indicators of environmental education of a child at the first and second stages of elementary school:

the child shows interest in the objects of the surrounding world, the living conditions of people, plants, animals, tries to assess their condition from the position of "good - bad";

willingly participates in environmentally oriented activities;

reacts emotionally when meeting with the beautiful and tries to convey his feelings in accessible forms of creativity (story, drawing, etc.);

tries to follow the rules of behavior on the street, in transport, while walking in the park, in the forest;

shows willingness to help people, animals, plants in need;

tries to control his behavior, actions, so as not to harm the environment.

At the third stage, which completes the period of primary school age, the child's personal experience is replenished with new content: an analysis of observations of the state of the environment and a feasible contribution to improving its condition; conscious compliance with the norms and rules of behavior in the environment; effective care for representatives of the animal and plant world; using the acquired knowledge, skills and abilities in environmentally oriented activities; the embodiment of their impressions of the world around them in various types of creativity.

In the lessons of the surrounding world, students are enriched with new aesthetic impressions, which is facilitated by a variety of teaching aids (pictures, films, filmstrips, etc.), which form images of territories, various objects of nature, develop in children an emotional susceptibility to beauty in general, beauty in nature and aesthetic perception of the environment.

To implement the tasks of developing the aesthetic perception of nature in elementary school, the following ways are used.

Constant connection with life, wide interdisciplinary connections.

Emphasis on tasks of a cognitive and creative nature, creative lessons.

Conducting any lesson at a high aesthetic level.

Studying the formulation of aesthetic education in primary school, most researchers note the insufficient level of aesthetic development and upbringing of younger students. One of the reasons for this phenomenon lies in the ineffective work of teachers, in the low level of their aesthetic culture. In this regard, the primary school teacher should know:

goals, objectives, principles of aesthetic education of younger students;

forms and methods of aesthetic education and upbringing of students;

aesthetic needs, tastes, interests of children;

patterns of psychological development of the child;

forms of aesthetic education of parents, conditions for the aesthetic development of children in the family;

works of cultural and art figures dedicated to children (children's storytellers, illustrators of children's books, animation directors, children's radio broadcasting and its presenters, composers, poets, writers who write for children, directors and screenwriters of children's films and fairy tales, etc.). d.);

a primary school teacher should know what his pupils are fond of, what they collect;

know the criteria for aesthetic education and upbringing of younger students.

Knowledge of nature has a profound effect on the comprehensive development of the child's perception. In the process of observation, the child includes all analyzers: visual - the child sees the size, color of the object under study; auditory - the child hears the sound of the wind, the splash of water in the river, the sound of raindrops, the rustle of leaves, the murmur of a stream. The taste allows you to subtly distinguish - the sweet taste of honey and the salty taste of sea water, the taste of spring water and meadow strawberries. The sense of touch is the child's second eye. Feeling the objects of nature, the child feels all the roughness of the bark of trees, grains of sand, scales of cones.

At the lessons of the surrounding world, the teacher not only informs the children of new information, but also clarifies and consolidates the knowledge they already have. Lessons on this topic should be built in such a way that in this process not only familiarization of children with the nature of their native land is carried out, but also the development of cognitive abilities (observation, thinking) and speech of children, enrichment of their vocabulary, education of interest and love for nature. For this, a variety of methods are used to observe natural objects, paintings, illustrations, didactic games, work with paintings, reading works of art, stories, conversations, etc.

Studying nature, observing objects and phenomena of the outside world, children compare them, try to make the simplest generalizations, think about the causes of the phenomena that occur. At the same time, their mind is trained in the analysis and synthesis of the information received, in the ability to find similarities and differences in objects and phenomena, in generalizing similarities. All this is of great importance for the development of mental abilities, especially the logical thinking of children and students. The great educator K.D.Ushinsky emphasized the need to use natural objects and phenomena in teaching, believing that children should not only understand what they read about nature, but also learn how to correctly consider natural objects, notice their differences and features. The teacher is obliged to teach children to observe first, then generalize their observations and draw conclusions. Ushinsky points out why he chose for the "Children's World" mainly objects from natural history, considering these objects the most convenient in order to accustom the child's mind to logic, which is the main goal of readings and stories. He considered the objects of nature "the most convenient in order to accustom the child's mind to logic ... the logic of nature is the most accessible and useful logic for children."

Thus, the main task in the development of aesthetic perception by means of nature is the awakening of an emotional attitude towards nature in children of primary school age. Emotional attitude to nature helps to make a child smarter, spiritually richer, more attentive. The best in the development of perception when communicating with nature are verbal and effective techniques that cause positive emotions and interest in natural phenomena.

Conclusions on Chapter I

The world around us in primary school is especially important because all children study and learn about the diverse world of nature. All of them observe, care for and protect nature, become her research, good friends, starting from the first year of study. The teacher's stories, excursions, observations of natural phenomena, feasible activities and creativity of children - all this awakens in children a feeling of love for their native nature, a desire to be her good friend. Works of art that reveal the world of nature in an artistic image will have a deep aesthetic impact on children.

Aesthetic perception is a holistic process of human experience of an aesthetic object, its qualities and properties. The basis of such perception is a direct emotional reaction, which results in the formation of an aesthetic feeling. Aesthetic feeling is a feeling formed under the influence of aesthetic perception, which concentrates in itself all the riches of the natural essence of a person: it represents all of his individual, social and spiritual experience.

Such perception is aimed at the overall development of the child, both in aesthetic terms and in spiritual, moral and intellectual terms. This is achieved by solving the following tasks: mastering the child with knowledge of artistic and aesthetic culture, developing the ability for artistic and aesthetic creativity and developing the aesthetic psychological qualities of a person, which are expressed by aesthetic perception.

The work on the development of aesthetic perception is built taking into account the emotional responsiveness, curiosity and, at the same time, the ability to acquire theoretical knowledge inherent in younger students. Its ecological orientation is determined by the ideas of the diversity and ecological integrity of nature, the unity of nature and man. The previous experience of living communication with nature gives the child the opportunity to more easily comprehend, emotionally perceive the story, poem, fairy tale, encourages him to express his attitude towards them. At the same time, the task is not only to familiarize the child with the near and far natural environment, but also to enrich his social experience, the experience of communicative interaction with others.

The main task in the aesthetic development by means of nature is the awakening in children of an emotional attitude towards it. Emotional attitude to nature helps to make a person higher, richer, more attentive. Nature is one of the factors influencing the development and formation of aesthetic feelings, it is an inexhaustible source of aesthetic impressions and emotional impact on a person. In people's lives, nature occupies a significant place, contributes to the formation and development of aesthetic feelings and tastes. Love for native nature is brought up from an early age. “It is at this time that it is necessary to instill in children a love for beauty, harmony, expediency, unity that reign in it.”

Aesthetic feelings are closely connected with moral ones. Love for the Motherland is a complex moral feeling, which is organically connected with the aesthetic feelings caused by communication with nature.

To love nature, one must know it, and in order to know, one must study it. In the process of knowing nature, aesthetic feelings and tastes are formed and developed. The perception of the aesthetic phenomena of nature and the experiences arising from this depend on the circle of ideas, meanings and the general development of a person.

Summing up, it can be noted that the richness and diversity of the content of the school course of the surrounding world contributes to the education, upbringing and development of younger students. Knowledge of the surrounding world serves as the basis for studying such disciplines as geography, biology, physics, and chemistry in high school. The material of the course is constantly used when students study other academic disciplines of elementary school: the Russian language, labor, mathematics, drawing, etc.

Chapter II. Experimental work on the development of aesthetic perception in the subject "World around"

1 Diagnosis of the level of aesthetic perception of nature by younger students

Experimental work to test the hypothesis consisted of ascertaining, forming and control stages of the experiment. The base of the study was the 2nd "c" class of the school NPSOSh No. 2 in Yakutsk. Class teacher Zykova Matrena Nikolaevna. The experiment involved 12 children in the form of an experimental group. The 2nd "b" class of the same school was involved as a control group.

The purpose of the experiment is to create conditions for the effective development of the process of aesthetic perception of younger students.

Objectives of the experimental study:

to acquaint and characterize the features of the aesthetic perception of children in the experimental and control groups;

to determine the main indicators of aesthetic perception in younger students;

conducting an experiment;

To determine the direction of work on the study of the main qualities of aesthetic perception in children of primary school age and determine its indicators, the following diagnostic methods were used:

• questioning;
• creative writing method;
• observation;
• conversation;
• quantitative analysis of research results;

Qualitative analysis of research results.

We used the technique of V.P. Anisimov "The study of the aesthetic orientations of the child" . Vladimir Petrovich is a professor at Tver State University, head of the Department of Preschool Pedagogy and Psychology, director of the Scientific and Educational Center for Art Pedagogy of Tver State University, candidate of pedagogical sciences, an art therapist, as well as a highly qualified child psychologist, Honorary Worker of Higher Professional Education of the Russian Federation.

This technique is aimed at identifying the aesthetic perception of the child - his aesthetic preferences, tastes (see Appendix 1).

1.Questionnaire to identify the components of children's aesthetic orientations

Criteria for assessing the level of aesthetic perception of children of primary school age:

low level - the absence or weakly expressed interest in the aesthetic side of nature. For example, such children do not like to read books about animals or do not know how to behave in nature;

middle level - expressed in the presence of interest in various types of aesthetic activity, but with a clear preference for the entertainment orientation of genres, without focusing on highly artistic (classical) standards. For example, a child every summer wants to go camping with his parents, but his goal is not to rest, but to chase a grasshopper;

high level - a clearly demonstrated demonstrated interest in various types of aesthetic activities and different genres. For example, a child is fond of reading books, drawing a landscape from nature, willingly and emotionally tells stories about his pets, describing them in great detail.

The results of identifying the components of the aesthetic orientations of children in both groups are presented in Table 1.

Table 1

Results of studying the components of aesthetic orientations of children in the experimental and control groups

GroupIndicatorsHighAverageLowExperimental-3070Control-3565

As can be seen from Table 1, the level of development of the components of aesthetic orientations of children in the experimental and control groups is approximately the same: there are no children in any group with a high level of aesthetic orientations, the average level is 30% in the experimental group and 35% in the control group.

As a result of comparing the answers received in the control and experimental classes, the following was revealed:

1.In the control class, children know the actual material about the world around them better, only one person answered that it is impossible to kindle a fire in nature (question 6). Although all students correctly answered this question. This suggests that more than half of the class, along with their parents, have a rest in nature. After all, fresh air is necessary for a young organism.

2.To the question: “What does nature teach?” (question 9) the answers in both the control and experimental classes are at the same level. Most answered that our nature teaches us to love and protect forests, plants and animals. Children at such an early age think about such serious things as preserving a green corner in the life of every inhabitant of our planet.

Also, in these two classes, a test was conducted that revealed children's knowledge about nature conservation, about the external features of animals and their habitat, about deciduous and coniferous plants (see Appendix 1).

The results of the ascertaining experiment are presented in table 2, diagram 1.

table 2

The results of the ascertaining experiment to identify the level of development of aesthetic perception in the lessons "The world around"

(amount of children)

Evaluation of resultsControl group (12 people)Experimental group (12 people)High level44Medium level67Low level21Correctly answered all questions01Correctly answered 6 questions66Correctly answered less than 698

As Table 2 shows, in the experimental group only 1 child has a low level of development of aesthetic perception, and in the control group - not a single child. When as 13 children have a low level of knowledge out of 24 students. And the remaining 8 students coped with the top five, although these works were not evaluated. Among these eight students was Alina Danilova. She not only answered questions, but also analyzed every detail. For example, to the expression “All available plants and animals of Russia are listed in the Red Book,” Alina gave the concept of what the Red Book is. Of all the subjects, I liked the answers of Danilova Alina. But I also want to note all the students of the experimental group, they worked very competently and harmoniously.

Diagram 1 clearly reflects the proportional relationship between the levels of development of the aesthetic perception of nature in children of primary school age in both groups.

Diagram 1

The level of development of aesthetic perception of nature in younger students

aesthetic perception of the schoolchild around the world

Summing up, we can conclude that children are quite familiar with the aesthetic perception of the world around them. They know what is necessary, to protect nature and what it consists of, what effect nature has on a person. Primary schoolchildren have a desire to protect nature, to do for it what they already know and can do. Therefore, in further work it is still necessary to teach them how to behave in nature, the rules that should be followed, to cultivate love for nature, the ability and desire to help her. After all, aesthetic perception is a purposeful creative process, as a result of which the formation of a creative active personality of a child takes place, capable of perceiving and evaluating the beautiful, tragic, ugly in life and art, living and creating “according to the laws of beauty”. Children of primary school age are characterized by a unique unity of knowledge and experiences, which allows us to talk about the possibility of forming in them a reliable foundation for a responsible attitude to nature.

At the second stage of the ascertaining experiment, the parents were questioned. Purpose: to reveal the role of the family in the development of the aesthetic perception of the child.

The parent questionnaire included the following questions:

)Do you think aesthetic education is important in the overall development of the child?

)Does your family have traditions of making music at home (singing, drawing or playing a musical instrument) in the presence of a child?

)Do you and your child attend any music events, art exhibitions, or special classes?

)What role do you attach to the aesthetic education of your child?

insignificant;

let him do it for general development;

essential for the development of his abilities.

) What kind of music is most often played in your home: light entertaining, classical or “whatever you have to - according to the principle: it doesn’t really matter”?

) What kind of music do you prefer to listen to? Please name your favorite works, or performers, groups.

) Do you think your child loves music, painting, art? If so, which one does he prefer to listen to?

) How and in what exactly are the aesthetic interests of your child manifested?

) Do you think that your child appreciates and understands the beauty of nature?

) If you had the opportunity, would you pay more attention to developing your child's love for nature? What exactly would you like to do to achieve this?

Criteria for evaluating the answers of parents to a questionnaire aimed at studying the role of parents in the development of the child's aesthetic perception:

low level - open recognition of the insignificance of aesthetic development in the full-fledged upbringing of the child and a weakly expressed interest in aesthetics in general;

middle level - recognition of the role of aesthetic education in the development of the child, but ignorance of his aesthetic interests or lack of time and opportunities for the full implementation of his parental functions in the aesthetic education of the child;

high level - the experience of familiarization with aesthetics and the implementation of plans for the aesthetic development of the child.

Indicators of the effectiveness of the role of parents, identified during the processing of their answers to the questions of the questionnaire, aimed at studying the level of development of aesthetic perception of primary school students. The results identified by the results of the 2nd method are reflected in table 3.

Table 3

The results of studying the level of development of aesthetic perception of children in the experimental and control groups according to the questionnaire of parents (%)

GroupIndicatorsHighAverageLowExperimental-4060Control103555

As can be seen from Table 3, the level of development of aesthetic perception of children in the experimental group is slightly lower than in the control group: if there are no children with a high level of aesthetic perception in the experimental group, then in the control group - 10%, the average level is 40% in the experimental group and 35% in the control group.

Based on the results of the ascertaining experiment, the following conclusions were drawn.

In the children of the experimental group, an insufficient level of aesthetic perception was revealed, since little attention is paid to the aesthetic development of children in the family and school.

The elementary school program notes that for the proper organization of work on the aesthetic education of younger students, it is advisable to outline its approximate content, to determine specific requirements that correspond to the general tasks of education for children of primary school age.

The purpose of the formative stage is to create effective conditions for the development of aesthetic perception of younger students in the lessons on familiarization with the outside world.

The lesson as a form of education has existed for more than 300 years. He firmly entered the system of work of the mass general education school. The variety of forms of presentation of educational material and the requirements for integrity, systematic thematic structuring are implemented through a three-stage technology for preparing a teacher for classes in the course "The World Around". Currently, “non-standard” forms of classes in natural science, new pedagogical technologies are being developed and tested, which allow organizing the research, creative activities of children, using the whole variety of methods and forms of independent, cognitive, practical and artistic and aesthetic work.

At the first stages, in the lessons on familiarization with the outside world, we used methods that analyze and correct the aesthetic value orientations, interests and needs that have developed among schoolchildren. Using the experience of observations and environmental activities, the teacher in the course of the conversation with the help of facts, figures, judgments evoked emotional reactions of students, sought to form their personal attitude to the problem.

At the stage of the formation of an aesthetic problem, methods that stimulate independent activity of students acquired a special role. Tasks and tasks were aimed at identifying contradictions in the interaction between man and nature. We stimulated the process of development of the aesthetic perception of the discussion, contributing to the manifestation of the personal attitude of students to the problems of aesthetic attitude to nature, acquaintance with real local natural conditions, and the search for ways to solve them.

At the stage of theoretical substantiation of ways to develop the aesthetic perception of nature, the teacher turned to the story, which allowed children to present the scientific foundations of nature conservation in broad and versatile relationships, taking into account factors of the global, regional, local levels. At the same time, the cognitive activity of students stimulated the modeling of aesthetic situations of moral choice, which generalized the experience of decision-making by students, formed value orientations, and developed the aesthetic interests and needs of schoolchildren. In addition, we have activated the student's need to express aesthetic feelings and experiences by creative means (drawing, story, poetry, etc.). Art made it possible to compensate for the predominant number of logical elements of knowledge. A synthetic approach to reality, characteristic of art, emotionality is especially important for the development of motives for an aesthetic attitude to nature.

The implementation of the tasks of developing aesthetic perception in the lessons on familiarization with the outside world required a revision of the forms and methods of teaching. The majority of teachers working in the primary grades prefer the methods, forms and teaching methods considered by N.A. Frolova and L.S. alum:

stimulating students to constantly replenish knowledge about the environment, for which role-playing games, conversations, student reports, quizzes are used in the classroom;

development of creative thinking, the ability to foresee the possible consequences of nature-forming human activity, for which methods are involved that ensure the formation of intellectual skills: analysis, synthesis, comparison, establishing cause-and-effect relationships, experience, laboratory work, conversation, observation - traditional methods;

the formation of research skills, abilities, abilities to make appropriate decisions and independently acquire new knowledge - a problematic approach to the learning process;

involvement of students in practical activities to solve environmental problems of local importance (identification of rare and endangered species, organization of an ecological trail, protection of nature - forest restoration, promotion of environmental knowledge: lectures, conversations, posters).

Role-playing games help to develop positive emotions in relation to nature. Lesson-game as a method of environmental education is a game specially organized by the teacher and introduced into the process of learning about nature and interacting with it. Such literary works as “Ryaba the Hen”, “Little Red Riding Hood”, “Doctor Aibolit”, etc. are suitable for the implementation of the goals of environmental education. In this case, the literary hero brought into the pedagogical process, a character with a certain character and form of expression, has decisive didactic tasks .

Students from an early age are capable of a worldview that helps students navigate the value principles. This is evidenced by the survey conducted among students "The World of Nature", where the guys answered the question: "What is Nature?"

The formation of aesthetic concepts among junior schoolchildren was carried out with the help of tasks, which it is advisable to give an ecological orientation. The tasks used in the lessons on familiarization with the surrounding world should reveal not only the connections of organisms with the environment, but also the value normative and practical activity aspects of a person's relationship to his native natural environment. As a result, students will more often be involved in independent search, learn to predict the consequences of behavior and activities in the environment, master practical skills, and participate in creative activities.

The system construction of tasks allows the child to see the specific habitats of living organisms - their houses and apartments, multilateral connections with the environment and among themselves, which allows the child to discover many aesthetic patterns.

Excursion lessons were a successful combination of gaming and cognitive activities of younger schoolchildren in the lessons on familiarization with the outside world. A variety of didactic games of a social or natural history orientation are used in a safe area - a forest path, the edge, in a public garden, a park: “Whose leaf?”, “Walk of smells”, “Good attitude towards nature” (to collect natural material).

At the same time, the teacher must carefully prepare for such an excursion and provide a detailed preparation plan:

Outline a topic, it is desirable that the name of the topic sounds emotional or problematic, which allows you to immediately interest students;

Immediately before the tour, a reminder of its purpose and venue, structure; communication of the rules of safe behavior on the ground;

Choose a place for the tour, visit there in advance, develop a route. Provide places for outdoor games, information, observations, collection of natural material, socially useful activities of students;

Clarify the content of educational and cognitive material, select game material, poems, riddles, quizzes;

Think over the methodology for conducting excursion classes;

Plan the organizational forms of students' activities (when and where to conduct mass and group observations), the implementation of socially useful deeds, distribute responsibilities between subgroups or individual students;

Think about what generalizations, conclusions students should be led to, how to evaluate their aesthetic perception, upbringing and discipline;

When the content and methodology of the excursion are finally clarified, the plan can be finalized.

The teacher offered the children to memorize a poem about nature before the excursion, using poems by I. Bunin, F. Tyutchev, S. Yesenin for this. On the tour, use the poems of the Yakut poets S. Danilov, I. Gogolev, the riddles of S. Marshak, E. Serova, R. Fedkin. Before the excursion, children were given various tasks to observe animals and plants in subgroups or individual students. It was necessary to pay great attention to increasing the cognitive activity of students on excursions. For this, didactic games were used, such as: “Recognize the tree by the leaf” or “What has changed?”, aimed at comparing what they saw and recalling what happened in memory. The success of an excursion to the forest mainly depends on the ability of the teacher to build his story, using the traces of animal life, describing the life of plants, studying the relationship in which plants and animals exist.

In our work on the development of aesthetic perception in the lessons on familiarization with the surrounding world among younger students, we used an unconventional lesson - the “Save Nature” holiday (Appendix 1).

In the experimental class, the children perceived the material with interest without signs of fatigue. Actively participated in the learning process. In subsequent conversations on the topic of the lesson, almost all the guys showed fairly deep knowledge. The students expressed their interest in holding such classes in the future.

The content of the course of acquaintance with the outside world in order to develop the aesthetic perception of students can be an organic ratio of the natural, humanitarian and artistic cycles. This allows us to approach the formation of the leading idea of ​​the program - the relationship of nature, man, society - in its integrity and from the standpoint of environmental issues. The topics of the lessons were planned in accordance with the concept of "Perspective Primary School", one of the main tasks of which is the formation of observation activities. Observation is a complex activity because it includes analysis and synthesis, comprehension and interpretation of the aesthetically perceived world around.

In order to form the moral and environmental culture of students, a set of measures is needed: to continue work to improve the content of curricula, taking into account moral and environmental issues in accordance with the content of education.

2. To expand and deepen all types of extracurricular activities of moral and environmental education - cognitive, labor, experimental, local history.

It is necessary to systematically study, generalize and disseminate the advanced experience of teachers in moral and environmental education, it is necessary to conduct special courses in environmental direction.

To intensify the participation of younger schoolchildren in a variety of experimental research, environmental activities, organize various environmental clubs, circles, etc.

2.3Results of experimental work

The effectiveness of the experimental work carried out was proved at the control stage, which was carried out according to the same methods as at the ascertaining stage.

Conducted to the group of second-graders, the research showed the following results.

Based on the answers to the test questions, it turned out that:

.Most of the class showed interest in conducting various tests, questionnaires and conversations;

.children like fun and extraordinary tasks;

.nature excursions are necessary for full development;

.The role of the family in the development of aesthetic perception is very important.

The results of identifying the components of the aesthetic orientations of children in both groups are presented in Table 4.

Table 4

Results of studying the components of aesthetic orientations of children at the control stage

GroupIndicatorsHighAverageLowExperimental40600Control-4060

The percentage of the experimental group is as follows: 40% have a high level of development of aesthetic perception, 60% - an average level, 0% - a low level.

In the process of testing of this kind, not only aesthetic, but also intellectual, moral, volitional qualities of the personality of the subjects develop, the outlook is manifested and improved, the inclinations and abilities of children are activated.

Diagram 2

As can be seen from Table 4 and Diagram 2, the level of development of the components of the aesthetic orientations of children in the experimental group became much higher than in the control group. After the formative stage, 40% of children with a high level of aesthetic orientations appeared in it, the average level was 60%, when, as in the control group, it increased only to 40% (from 35%).

At the second stage of the control experiment, a survey of parents was conducted to identify how the role of the family in the development of the child's aesthetic perception has changed after the formative work was carried out to develop the aesthetic perception of the world around in organized lessons to get acquainted with the world around.

Table 5 reflects the results of the parent survey.

Table 5

The results of studying the level of development of children's aesthetic perception at the control stage according to the data of the parents' survey

GroupIndicatorsHighAverageLowExperimental50500Control104050

Let's represent this table in the form of a diagram and in percentage:

Diagram 3

Thus, as a result of the conducted research, we have identified the levels of development of the aesthetic perception of nature by younger schoolchildren. As can be seen from Table 5 and Diagram 3, the level of development of the aesthetic perception of children in the experimental group became much higher than in the control group. In the experimental group of children with a high level of aesthetic perception of nature, after the formative stage, it increased.

In the control group - 10%, the average level in the experimental group - 50%, in the control group - 40%. A low level in children in the experimental group was not found, while in the control group it was 50%.

At the third stage of the control experiment, we also revealed elementary figurative representations of the child about the world around him and their habitat.

The results of the control experiment are presented in Table 6 below.

The results of the control experiment to identify the level of development of aesthetic perception in the lessons "The world around"

(amount of children)

Evaluation of the results Control group (12 people) Experimental group (12 people) High level 36 Average level 1010 Low level 6-Correctly answered all questions 410 Correctly answered 4 questions 810 Correctly answered less than 48-

Table 6 clearly reflects the proportional ratio of the levels of aesthetic perception in the lessons "World around" in both groups after the formative stage. It shows that the level of aesthetic perception in the children of the experimental group has increased significantly - by 60%.

Thus, the level of development of aesthetic perception revealed in the course of the study is well formed, because formative work was carried out on the basis of an integrated approach, much space was given to the observations and practical activities of children.

These studies fully confirmed the hypothesis that the development of the aesthetic perception of nature by younger students is achieved with the help of the subject "World around" i.e. creation of psychological and pedagogical conditions.

Conclusions on Chapter II

Thus, the level of development of aesthetic perception revealed in the course of the study is well formed, because formative work was carried out on the basis of an integrated approach, a lot of space was given to excursions, observations and practical activities of children, a variety of methods and forms of classes were used.

Experimental work to test the hypothesis consisted of ascertaining, forming and control stages of the experiment.

At the ascertaining stage, a survey was conducted in order to identify the level of development of the aesthetic perception of the surrounding world. After the formative stage, the level of aesthetic perception in children has increased significantly - by 50%.

From this it follows that aesthetic perception is a purposeful creative process, as a result of which the formation of a creative active personality of a child takes place.

Aesthetic perception of nature is facilitated by various types of lessons: "Lesson-holiday", "Lesson-game", "Lesson-excursion", psychological and pedagogical conditions.

Receptions, forms, methods of aesthetic education of children of primary school age in the lessons of the surrounding world contribute to a careful attitude to nature.

In the process of experimental work on the development of aesthetic perception of nature by schoolchildren and a responsible attitude to the natural environment, it was proved that the following conditions are necessary: ​​socio-pedagogical; natural. The moral and aesthetic coloring of the motives of relations with nature increases the value of the environment for the individual, thereby creating a solid foundation for strengthening a careful, humane attitude to wildlife, to all natural elements. These conditions contribute to the formation of environmental consciousness. Here, such mental qualities of a person as perception, imagination and feeling help to understand the world.

Aesthetic attitude to the environment is formed in a person almost throughout his life and especially intensively during school years. Success in solving the goals of aesthetic education and upbringing largely depends on the first stage of education - primary school, the foundations for the formation of a person's personality were laid, ensuring the effectiveness of further environmental education and education, which will contribute to the creation of a unified continuous system of formation and development of aesthetic culture in a person.

The program of aesthetic perception should include the careful attitude of children to nature, the disclosure of the aesthetic, cognitive, health-improving, practical significance of nature in people's lives.

Conclusion

The explanatory note to the primary education program notes the need to develop the following skills in children:

to see the beauty of nature, to be able to enjoy it (blue sky with white clouds, the color of butterflies is different, bright, the flowers smell good);

to perceive the beauty of sounds in nature: the babbling of a stream, the singing of birds, etc.;

notice the change of seasons in nature: delicate greenery in spring, bright colors of flowers in summer, golden leaves in autumn, whiteness of snow in winter, etc.

The modern structure of the Russian school presupposes the obligatory inclusion of a local history component in the content of the education of younger schoolchildren, since it is in elementary school that the foundations of cognitive interest in the world around us, in facts and phenomena of reality are laid, conditions are created for the development of creative thinking, moral feelings, strong convictions.

Knowledge of nature is an important basis for the development of a sense of kinship with nature, the formation of the moral qualities of a person, the ability to think on a large scale and foresee the possible consequences of human activity for the environment, health, and life of the people themselves. They are the starting point for developing the ability to use environmental principles in all areas of human activity in the interests of the rational development of society, as well as for educating aesthetic values ​​associated with the inevitability of a qualitatively new look at the needs and opportunities for the further development of civilization in accordance with the Agenda for the 21st century (Rio -de Janeiro, 1992).

For many years, in NPSOSh No. 2, junior schoolchildren have been introduced to the outside world through a system of training courses with an environmental focus by the author A.A. Pleshakov. This course allows children to form a holistic view of the world around them, about the place of a person in it. Some topics are given much broader than they are covered in the textbook, and since the 2009-2010 academic year, the experimental 2nd "c" class has been involved in creative work to update the content of education through the introduction of methods for developing the aesthetic attitude of students to the world around them, taking into account age characteristics and learning motivation .

As a result of our experimental work, we made the following recommendations.

Aesthetic education of younger schoolchildren in the lessons on familiarization with the outside world is a priority direction in the work of elementary school, carried out taking into account the age of students, with the ultimate goal of forming a moral and environmental culture;

The theoretical foundations of the aesthetic education of younger schoolchildren are sufficiently developed in the scientific and methodological literature;

Despite the revival of work on aesthetic education in schools in the lessons on familiarization with the outside world, its level, as a rule, remains quite low;

To systematize the work, a program of aesthetic education of younger schoolchildren is needed, which ensures the organization of cognitive, educational, entertaining, practical and research activities of students, the use and combination of non-traditional and traditional forms, active methods and methods of work, continuity and consistency in the presentation of the material;

The formation of aesthetic consciousness is the most important task of the school. This must be done in an intelligible and unobtrusive manner. This is helped by lessons on getting to know the outside world of an unconventional form: for example, lessons-holidays, excursions;

In the lessons on familiarization with the outside world, you can achieve what is impossible to achieve in other lessons: the active participation of students in the preparation of the lesson, the interest that the lesson goes well. Non-traditional lessons on getting to know the outside world, as a rule, are remembered for a long time by children, and of course, the material that was studied on them. Therefore, non-traditional forms of the lesson are especially important for the formation of aesthetic consciousness in younger students;

When conducting non-standard lessons, junior schoolchildren not only increased the level of moral and environmental knowledge, but also significantly changed the motivation for actions in nature, the aesthetic perception of the world around them, as well as the aesthetic interests of students;

Purposeful systematic work on aesthetic education contributes to a significant increase in the moral and environmental culture of younger students.

The preparation of the thesis convinced us of the great importance of further work aimed at improving the aesthetic culture of students in the primary grades. The purpose of studying the interaction of moral and aesthetic education is the formation of a person with a high level of environmental culture, combining moral and environmental knowledge and beliefs, a sustainable line of behavior and actions motivated by moral and environmental values.

Moral and environmental education and upbringing of students is carried out in class and extracurricular activities. Extracurricular work is more interesting for students with its free form, and classroom work carries more painful information. In order to interest students, lessons should be varied, interesting and exciting. In our pedagogical practice, we use various forms and methods of conducting a lesson. It is necessary that the children were not only listeners, but also took an active part in the lesson.

The didactic core of many lessons on getting to know the outside world is the activity of the students themselves, during which children observe, compare, classify, draw conclusions, find out patterns, learn to prepare messages from additional literature and write essays about plants, animals, minerals of the Republic of Sakha (Yakutia ). On an excursion to the republican museum of local lore, the children got acquainted with the life of the indigenous inhabitants of Yakutia, with the main geographical and climatic features of the republic, with animal and plant species and their significance in human life in the Far North.

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II. Domestic policy of Hetman I. Mazepa. His relationship with the Zaporozhian Sich.

V. The relationship of the main accounting department with other departments of the enterprise

V. The relationship of the financial department with other departments of the enterprise

A) an ordered set of interrelated elements that are in a stable relationship with each other, ensuring the functioning and development of the organization as a whole

1) The ability of emotional experience.

2) The ability to actively assimilate artistic experience (aesthetic apperception), to independent creative activity, to self-development and experimentation (search activities).

3) Specific artistic and creative abilities (perception, performance and creativity).

Methods of aesthetic education:

1) The method of awakening vivid aesthetic emotions and experiences in order to master the gift of empathy.

2) The method of inducing empathy, emotional responsiveness to the beautiful in the world around.

3) The method of aesthetic persuasion (According to A.V. Bakushinsky, “Form, color, line, mass and space, texture should convince themselves directly, should be valuable in themselves, as a pure aesthetic fact.”).

4) The method of sensory saturation (without a sensory basis, introducing children to artistic culture is unthinkable).

5) The method of aesthetic choice ("beauty persuasion"), aimed at the formation of aesthetic taste; » a method of diverse artistic practice.

6) The method of co-creation (with a teacher, craftsman, artist, peers).

7) The method of non-trivial (unusual) creative situations that arouse interest in artistic activity.

8) Method of heuristic and search situations.

Principles of an integrated approach:

1) It is based on the concept of polyartistic development. All arts appear as phenomena of life as a whole. Each child can successfully advance in each of the types of artistic activity and creativity.

2) Art interacts even if the teacher does not know about it or does not want to take it into account. Color, sound, space, movement, form are closely related, interchangeable. They are different expressions of the same spiritual phenomena and qualities of the world. In an integrated approach, it is important to take into account the internal, figurative, spiritual connections of the arts at the level of the creative process. This must be distinguished from the usual interdisciplinary connections or mutual illustration of one art by examples of another - in terms of their plot and content.

3) An integrated approach involves taking into account the geographical, historical, cultural factors of the consciousness of works of art in a single stream of culture. The arts developed unevenly, and among some peoples in certain historical periods, some arts either prevailed or were simply absent.

4) Accounting for regional, national-historical artistic traditions associated with the area, material objects, and the spiritual aspirations of the people. Connections of regional and world artistic cultures.

5) Links between art and sciences in a single field of creative manifestations of mankind, where they feed on each other's achievements, often combined in one person.

Table - productive activity