The literary life of Russia during this period developed rapidly; among writers and politicians the main question was: What kind of Russia should it be? Monarchy? Republic? What should a literary language be like? After all, Pushkin’s language is so different from Derzhavin’s. The Russian literary language was created at the beginning of the 19th century. Literary societies and circles make it possible to see the general progressive development of Russian literary social thought. The earliest of such associations is the Friendly Literary Society, which arose in January 1801. It is not by chance that this literary society arose in Moscow, which at the beginning of the 19th century was the center of the best literary forces of that era.
The Friendly Literary Society grew out of a student circle consisting of
pupils of Moscow University and the university Noble boarding school. This society included Andrei and Alexander Turgenev, Kaisarov, V. Zhukovsky, A. Voikov, S. Rodzianka, A.F. Merzlyakov. In their person a new generation of writers declared itself. The participants of the “Friendly Literary Society” were characterized by common aspirations: a passionate interest in the fate of Russia, its culture, hostility to inertia, a desire to contribute as much as possible to the development of education, the idea of civil and patriotic service to the Motherland. “Friendly community” formed the basis of this association; the society’s meetings were characterized by an informal, relaxed tone, an atmosphere of heated debate, anticipating organizational forms"Arzamas", the main core of which was made up of participants of the "Friendly Literary Society".
The “Free Society of Lovers of Literature, Science and the Arts,” created in St. Petersburg in 1801, also began its activities as a friendly circle of like-minded young writers. Yazykov, Ermolaev, Pnin, Vostokov became participants in the “Free Society”; they sought to declare themselves publicly, sought to achieve official recognition: Pnin was the author of the treatise “An Experience on Enlightenment in Relation to Russia.” The treatise was presented to Alexander I and received the “highest approval.” Participants in the Free Society dreamed of developing education and social reforms in Russia. Members of the society published the almanac “Scroll of the Muses” (1802-1803). In 1804-1805, K. Batyushkov, A. Merzlyakov, N. Gnedich, V. L. Pushkin became members of the society. In 1812, the “Free Society” ceased its activities, but in 1816 the activities of the society were resumed, headed by new President- Izmailov. This period of activity of the “Free Society” is called “Izmailovsky”. Members of the Izmailovsky Society were K. Ryleev, A. Bestuzhev, V. Kuchelbecker, A. Raevsky, O. Somov. The future Decembrists sought to actively influence the contemporary social and literary movement. The “Union of Salvation” and the “Union of Welfare” first focus on the “Free Society”. The “Moscow Society of Lovers of Russian Literature” existed for more than 100 years. Created at Moscow University, it included in its ranks teachers, Moscow writers and simply lovers of literature. The “Moscow Society of Lovers of Russian Literature” was established in 1811; in general, the position of the society gravitated towards classicism, the defenders of the principles of which were the organizers and leaders of the society (especially A.F. Merzlyakov). The time of greatest literary flourishing for the society was 1818, when, according to Dmitriev, prominent St. Petersburg poets took part in its work: Zhukovsky, Batyushkov, F. Glinka.
In 1811, the literary society “Conversation of Lovers of the Russian Word” arose (1811-
1816), an association of St. Petersburg writers. The organizer and head of the “Conversation” was Admiral Shishkov, a defender of classicism, author of the famous “Discourse on the old and new syllable of the Russian language” (1803). Admiral Shishkov, not being a writer himself, led the famous writers of Russia: members of the “Conversation” were Derzhavin and Krylov. The meetings of the society were solemn: tailcoats, ballroom costumes. Writers read new works. Krylov and Derzhavin were a unique decoration of “Conversation”. Russian language, from the point of view of Besedchikov,
must develop according to national tradition, the basis of the language should be ancient chronicles, and all European tracings must be destroyed and replaced with the Russian version. “Besedchiki” opposed the development of the Russian language in the spirit of European languages, since it has its own national course. Shishkov is a theorist and defender of the “old style”; this trend was directed primarily against the European traditions of the Russian Enlightenment. “Besedchiki” were fierce defenders of everything Russian and national from the “destructive influence” of Western European culture.
However, the process of Europeanization of Russian spiritual culture enriched it with a huge number of new social and philosophical ideas, aesthetic and moral ideas, and artistic forms, without the mastery of which its further development and self-determination would have been impossible. The central issue in the literary struggle of the “days of Alexander's beautiful beginning” was the question of literary language, or “syllable”. After the publication of “Reflections on the Old and New Syllables of the Russian Language” by the defender of classicism Shishkov, the controversy about the Russian literary language did not subside until the early 20s of the 19th century. This polemic characterizes the demarcation and struggle between the two main ideological and aesthetic tendencies of Russian literature. Belinsky called this period the “Karamzin period.” One of them was represented by the “Karamzinists”, adherents of the “new style”. Nikolai Karamzin headed the Arzamas literary society. The “Karamzinists,” unlike the “Besedchiki,” saw a different path of development and continued the European traditions of the Russian Enlightenment, “built” their own etiquette of communication and meetings; they were all younger than the “Besedchiki.” The youngest of them was Alexander Pushkin. Each of the members of the Arzamas society had a nickname, they wore nicknames from V. Zhukovsky’s ballads: Vasily Pushkin was called “Chub”, Mikhail Orlov was called “Rhine”. It was a kind of “brotherhood” in which there was no hierarchy, and where freedom, equality and brotherhood reigned. The Arzamas people were extremely diverse in their representation; the society included politicians. The literary society "Arzamas" at first opposed "Conversation", and the Arzamas people did a lot for the development of Russian literary language According to members of the society, the Russian language should develop in the bosom of other European languages and should absorb features of other languages. “Besedchiki” were classicists, “Arzamas people” were sentimentalists and romantics, therefore, the style itself was different. Where the classicists wrote: “The moon has risen”; sentimentalists and pre-romanticists will write: “Hecate has risen.” Thus, pretentiousness and sophistication of style were inherent in them, and this is what caused criticism from the “talkers”; all these battles became literary. An important circumstance of the culture of that time was that in the sphere of intellectual communication the spoken language not only of the “society”, but of all educated people was French, and this basically had nothing to do with “Gallomania”, cosmopolitanism, or disdain for the people . The reason was the huge gap between the spiritual needs of the educated strata of Russian society and the semantic structure of the Russian language. The problem of the Russian language was extremely relevant, since the Russian language was the language of everyday communication, it was not allowed into the highest cultural sphere: it was impossible to speak in Russian as beautifully, gracefully as in French: there was no equivalent. Pushkin in the 30s of the 19th century writes letters to his wife Natalie French. That is why educated people of Russia, writers and poets, strive to create a language that would absorb “the rigor of English, the philosophical nature of German,” and the grace of French.
Romanticism
Russian romanticism was an organic part of pan-European romanticism, which was a movement that covered all spheres of the spiritual life of society. Romanticism brought emancipation of the individual, the human spirit, and creative thought. Romanticism did not reject the achievements of previous eras; it arose on a humanistic basis, absorbing much of the best that was achieved by the Renaissance and the Age of Enlightenment. The most important principle of the aesthetics of romanticism was the idea of the self-worth of the individual. Romanticism was the discovery of a hitherto unknown poetic world of beauty and was a kind of stimulus for the flowering of the arts. The Romantic movement began in the 1790s in Germany (Schelling, Tieck, Novalis, Goethe, Schiller); from the 1810s - in England (Byron, Shelley, W. Scott, Blake, Wordsworth), and soon the romantic movement covered all of Europe, including France. Romanticism is a purely historical phenomenon, not reduced to single or even unambiguous principles. This phenomenon was understood and interpreted differently by the romantics themselves. Romanticism is not just a movement in literature - it is, first of all, a worldview, a worldview. Romanticism is characterized by the opposition of dreams and reality, ideal and reality. Romanticism contrasts the real, rejected reality with a certain higher, poetic principle. The antithesis “dream - reality” becomes constructive among the romantics; it organizes the artistic world of a romantic work, and is characteristic and decisive for romantic art. The antithesis “dream - reality” brought romantic art to life; it lies at its very origins. The negation of what exists, what is actually given, is the ideological premise of romanticism.
It was not by chance that Romanticism as a movement arose at the border of the 18th and 19th centuries. In “Confession of a Son of the Century” (confession of a romantic), Musset named two reasons that gave rise to the tragic and at the same time romantic duality of his contemporary: “The illness of our century comes from two reasons: the people who passed through 1793 and 1814 bear two wounds in their hearts... “The shocks of the revolution and the shocks of the Napoleonic wars in France raised many acute and insoluble questions before each individual and society as a whole, and forced them to reconsider previous concepts and values. Musset wrote: “It was some kind of denial of everything heavenly and everything earthly, a denial that can be called disappointment or, if you like, hopelessness.” From the romantic’s point of view, the world was split into “soul” and “body”, sharply opposed to each other and hostile. Contrary to the brightest hopes and expectations, the revolution did not abolish the centuries-old oppression of man by man; the bourgeoisie brought with them the principles of profit and material gain into life. Great expectations gave way to no less great disappointments. The vulgarity of bourgeois reality began to be perceived as the vulgarity of life in general, so the unconditional and absolute denial of reality turned out to be quite natural. The romantics saw the closest path to truth not in the arguments of reason, but in poetic revelation. Novalis wrote: “A poet comprehends nature better than the mind of a scientist.” From the romantic denial of reality a special romantic hero arises. Previous literature did not know such a hero. This is a hero who is in a hostile relationship with society, opposed to the prose of life, opposed to the “crowd”. This is an extraordinary, extraordinary, restless, lonely and tragic person. The romantic hero is the embodiment of a romantic rebellion against reality, he contains protest and challenge, the realization of a poetic and romantic dream that does not want to come to terms with the soulless and inhumane prose of life. From the romantic denial of the world follows the desire of the romantics for everything unusual, everything that goes beyond the boundaries of the rejected reality. According to G. Pospelov, all romantics “looked for their romantic ideal outside the reality surrounding them; all of them, in one way or another, contrasted the “despised here” with the vague and mysterious “there.” Zhukovsky looked for his “there” in the other world, Pushkin and Lermontov - in the free, warlike or patriarchal life of uncivilized peoples, Ryleev and Kuchelbecker - in the heroic, tyrant-fighting exploits of antiquity.
Romantic poets and writers, for the most part, gravitated towards history and turned to historical material in their works. Romantics, turning to history, saw in it the foundations national culture, its deep sources. The Romantics not only treasured the historical past, but also based their universal social and historical concepts on it. However, what was significant and genuine for them was not so much the historical fact itself as the poetic interpretation of the fact, not historical reality, but historical and poetic tradition. In relation to historical material, the romantics felt quite free, they treated history freely and poetically. Romantics in history were looking not for reality, but for a dream, not for what was, but for what was desired; they did not so much depict a historical fact as construct it in accordance with their social and aesthetic ideals. All this led to the following features of romanticism: the romantic cult of the poet and poetry, the recognition of the exclusive role of poetry and the poetic principle in life, the affirmation of the high, exclusive, life calling of the poet. From the point of view of the romantics, the poet is akin to the priest and
prophet, he is a philosopher and seer. The Romantics put forward the principle of creativity based on inspiration and asserted the priority of genius in art. In romantic art most of all
free poetic individuality was valued.
Romanticism is a complex historical and literary phenomenon: Zhukovsky understood romanticism differently than Ryleev. Denying life in the forms in which it existed, the romantics either withdrew into themselves, creating their own “anti-world”, a world of dreams and poetry (Zhukovsky’s romanticism); or the romantics challenged modern society, rebelled against him, simultaneously asserting the high rights of the human person to freedom and the active, heroic principle in man (the romanticism of the Decembrist poets). Russian romanticism is a completely original phenomenon. The development of Russian romanticism was greatly influenced by national identity. However, romanticism in Russia did not develop in isolation; it was in close interaction with European romanticism, although it did not repeat it. Russian romanticism was part of pan-European romanticism, therefore, it could not help but accept some of its generic properties and signs. The general experience of European romanticism also participated in the process of the formation of Russian romantic consciousness and Russian romantic art. But at the same time, for the emergence of romanticism in Russia, in addition to general reasons, there were also reasons of our own, internal, which determined the individual forms of Russian romanticism and its features. Apollo Grigoriev wrote: “Romanticism, and moreover ours, Russian... romanticism was not a simple literary, but a life phenomenon, an entire era of moral development, an era that had its own special color, carrying out a special view in life... Let the romantic trend come from outside, from Western life and Western literatures, it found in Russian nature soil ready for its perception, and therefore was reflected in completely original phenomena...” Russian romanticism was associated with Western literatures and western life, but was not completely and entirely determined by them; it also had its own special origins. If European romanticism was socially conditioned by the ideas and practices of the bourgeois revolution, then the sources of romantic sentiment and romantic art in Russia should be sought primarily in Patriotic War 1812, in its consequences for Russian life and Russian social consciousness. It was then that the ground appeared for both Decembrist and romantic moods.
Literary societies and circles that arose at the beginning of the 19th century make it possible to see the deep, internal processes, often not coming to the surface of literary life, but nevertheless very significant in the overall progressive development of Russian literary and social thought.
The earliest of such associations is the “Friendly Literary Society,” which arose in January 1801, shortly before the well-known events of March 11 (the assassination of Paul I by a group of conspirators from among his inner circle).
Under the conditions of a despotic regime, the organization of such a circle revealed a craving younger generation to socially useful activities. A member of the “Friendly Literary Society” A.F. Merzlyakov wrote: “This spirit, quick and charitable, produced quite a few private scientific literary collections, in which young people, united by acquaintance or friendship, composed, translated, analyzed their translations and works, and so "improved themselves in this way on the difficult path of literature and taste."
5 These meetings were based on close friendship and commonality of literary inclinations. The society, chamber in form, however, did not limit its activities to the solution of narrowly understood aesthetic problems.
It is not by chance that the “Friendly Literary Society” arose in Moscow, which at the beginning of the 19th century. was the focus of the best literary forces of that era. Karamzin lived here, and the members of the society themselves belonged to those literary circles that concentrated around the venerable writer.
The tendency towards Karamzinism becomes starting position for most of its members. Growing out of a student circle consisting of students of Moscow University and the University Noble Boarding School (Andrei and Alexander Turgenev, A. Voeikov, A. Kaisarov, S. Rodzianka, V. A. Zhukovsky), it included in its ranks the university teacher A.F. Merzlyakova.
The rest were just beginning their literary career. However, in their person a new generation of writers, not satisfied general direction contemporary literary development and who were looking for new forms of introducing literary work to the urgent needs of Russian reality early XIX V.
The social situation that developed during these years required a more decisive invasion of literature into various spheres of Russian life. The most radical members of society (Andrei Turgenev, A. Kaisarov) undergo a rapid evolution, reconsidering their attitude towards Karamzinism, which gave serious grounds to modern researchers to regard their position as one of the early ways of forming the Decembrist ideology in Russia.
Others remain faithful to the principles of Karamzinism (this is the position of Zhukovsky and Alexander Turgenev). However, the participants in the society were characterized primarily not by differences, but by common aspirations: a passionate interest in the fate of Russia and its culture, hostility to inertia and social stagnation, a desire to contribute as much as possible to the development of education, the idea of civic and patriotic service to the homeland.
This is how the concept of “friendly community” is revealed and concretized, which formed the basis of this association, consisting of young enthusiasts, ardent champions of justice, haters of tyranny and serfdom, filled with sympathy for the poor.
The society's meetings are characterized by an informal, relaxed tone and atmosphere of heated debate, anticipating the organizational forms of Arzamas, the main core of which was the participants of the Friendly Literary Society.
The “Free Society of Lovers of Literature, Science and the Arts”, which arose in St. Petersburg on July 15, 1801 and lasted much longer than the “Friendly Society,” began its activities as a friendly circle of like-minded young writers.
It was brought to life by the same social atmosphere, fed by the same enthusiasm and pursued similar, although not identical, goals. First called the “Friendly Society of Lovers of the Fine” and soon renamed, it united people of various origins who were interested not only in literature, but also in other types of art: painting, sculpture.
Over time, the society included sculptors (I. I. Terebenev and I. I. Galberg), artists (A. I. Ivanov and others), as well as representatives of various branches of scientific knowledge: archeology, history and even medicine (A. I. Ermolaev, I. O. Timkovsky, D. I. Yazykov, etc.).
The “free society” is characterized by the diversity of its social composition: it includes in its ranks people from among petty officials, the clergy, and even from the merchant class. A Kazan merchant was, for example, the poet G. P. Kamenev, the author of “Gromvala” (1804). People of unknown origin were the poets and publicists I.M. Born and V.V. Popugaev, representatives of the most radical part of the “Free Society”.
From illegitimate children of the nobility came I.P. Pnin and A.Kh. Vostokov, who from childhood experienced the hardships of this not-so-small social stratum, deprived of inheritance rights and forced to make their way in life on their own.
It is not for nothing that Pnin, an “illegitimate” son not recognized by his father, Field Marshal N.V. Repnin, wrote such an exciting document as the treatise “The Cry of Innocence Rejected by the Laws” (1802), which is “a remarkable criticism of family and marriage in terms of the power of civil feeling in contemporary noble society."
Political radicalism, increased social activity, and democratism of social sympathies determine the “special face” of the “Free Society of Lovers of Literature, Science and the Arts” in the 1800s. Unlike the “Friendly Literary Society,” its participants strive to publicly declare their existence, seek official recognition and attention from the authorities.
Thus, both well-known treatises by I. Pnin (“The Cry of Innocence” and “An Experience on Enlightenment in Relation to Russia”) were presented to Alexander I and earned the “highest approval.” The author, of course, did not seek awards, but practical ones, real results, hoping, with the help of the authorities, to implement a broad program for the development of education and social reforms in Russia.
In an effort to contribute to the fulfillment of this task, the “Free Society” received official approval in 1803, and at the same time the right to organize open meetings and publish its works. Members of the society published the almanac “Scroll of the Muses” (1802-1803), began to publish a magazine called “Periodic publication of the Free Society of Lovers of Literature, Sciences and Arts” (published in 1804, although only its only issue), and actively collaborated in other periodical publications of the early 19th century.
The intense activity of the society attracted the progressive forces of the artistic and literary world of St. Petersburg and Moscow. In 1804-1805 its members were K. N. Batyushkov, A. F. Merzlyakov, S. S. Bobrov, N. I. Gnedich and others.
The first period of the society's activity (1801-1807), which not coincidentally coincided with the era of liberal trends, had the greatest historical and literary significance. Late 1800s it is experiencing a crisis caused by the death (1809) of one of the most active members of society - I. P. Pnin (who brought the spirit of broad social initiative to his work), as well as an intense internal struggle, which ended in the victory of the right, “well-intentioned” wing of society (D. I. Yazykov, A. E. Izmailov, etc.).
The arrival of new members-Karamzinists (D.N. Bludov, V.L. Pushkin and especially D.V. Dashkov, who became the president of the society in 1811) brings some revival to its activities. They sought to give society a militant, offensive character, to turn it against their literary opponents - the “Slavophiles”-Shishkovists.
These efforts encountered stubborn resistance from conservative members of the Society, adherents of the “high style” of Russian classicism.
“Strengthened and revitalized by new members, the society decided to publish a monthly literary magazine in 1812,” testifies N. Grech. — After heated and persistent debates, they decided to call it “St. Petersburg Bulletin.”
At first, things went pretty well!.. But from the third book, disagreements and discord began. The “Vestnik” was directed directly against the Slavophiles: some members who were for some reason connected with Shishkov’s party did not like this. Others were oppressed by the superiority of the mind and talents of one of the members.
They made it so that he had to leave society.” It's about about Dashkov, who spoke at one of the meetings with a caustic “eulogy” to Count Khvostov, as mediocre as he was a prolific poet-conspirator. With the departure of Dashkov, the “Free Society” gradually faded away, and in 1812 it completely ceased its activities, in order to resume it only in 1816 with a significantly updated composition and headed by a new president, A.E. Izmailov.
During this last period, around the society (nicknamed among writers Izmailovsky, after its president, or Mikhailovsky, after the place of its meetings), small writers were grouped, collaborating in the magazine “Blagomarnenny” published by it. According to V.N. Orlov, during these years it did not have any significant impact on the literary movement and remained “on the periphery of the ‘big’ literary life.”
Joining the society of poets of the lyceum circle makes him an exponent of new trends in the literary process, already characteristic of the poetry of the 1820s. The clarifications that are given in connection with the last stage of the work of this society in V. G. Bazanov’s book “The Scientific Republic” seem significant.
The researcher rightly notes that in the Mikhailovsky (Izmailovsky) Society in the second half of the 1810s. included not only “third-rate writers”, but also future Decembrists who were looking for forms and ways of actively influencing the social and literary movement of their time.
The creation of the first associations of Decembrist writers was preceded by the period of future members of secret societies joining some literary societies of the 1810s.
“The Decembrists take into account previous traditions and strive to subordinate previously created literary societies to their influence,” the researcher emphasizes, recalling that members of the Izmailovsky Society were K. F. Ryleev, A. A. Bestuzhev, V. K. Kuchelbecker, A. F. Raevsky (brother of V.F. Raevsky), O.M. Somov and other prominent Decembrist writers.
Secret political organizations(“Union of Salvation” and then “Union of Welfare”) first focus on the “Free Society of Literature, Sciences and Arts”, gradually subordinating other literary associations to their influence. quarter of the XIX V.
History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983.
The paper discusses issues related to the effective use of such forms of extracurricular activities as a literary circle. Relevance of the work This is explained by the fact that, as part of the implementation of new educational standards, working with students in a literary circle opens up great opportunities for both the teacher and his students. Properly organized work of a modern circle involves the use of a huge number of modern methods and techniques aimed at developing and improving the system of universal educational activities for students. This undoubtedly enriches the student’s knowledge and contributes to his self-development and self-improvement.
I. Literary club and modern technologies
Guiding literary creativity plays a huge role in the moral and ideological education of schoolchildren. It is in literary creativity that a person determines his attitude to life, his place in it. Literary creativity- is always a form of communication, therefore, in the process of communication, collectivism, citizenship, and responsibility develop. The organization of a literary circle, as a rule, has the goal of not only helping students to better understand the school curriculum, but also expanding the children’s reading range, their knowledge of literature and art.
“The goal of the literary and creative circle is to expand the life experience of schoolchildren, involve them in a creative environment that suits their interests, develop general creative potential and special literary and creative abilities. Children who show an aptitude for literary creativity in any genre are accepted into the literary and creative circle. The purpose of the circle is not to train professional writers, but qualified leadership and a creative environment contribute to the effective development of schoolchildren with pronounced literary and creative talent.”
As part of the implementation of new federal educational standards, work in a literary circle will greatly help the teacher in the formation and expansion of a system of universal educational activities for students. Recently, literary circles have opened exclusively ample opportunities for interdisciplinary connections. These are literary-historical and historical-literary, literary-critical circles, extracurricular activities to study the relationship of literature with other forms of art. For example, a literary local history club. Within the framework of this circle, the connection between the main subject and history, local history, and geography can be traced. The activity here is educational in nature: it is aimed at expanding ideas not only about the fiction of the region, but about its culture, art, folklore, music (for example, literary and musical compositions).
In literary-historical or historical-literary circles they study the work of a single writer or the literature of a certain historical period. In the literary critical circle, children learn to critically comprehend the texts they read; as part of the lesson, a discussion of the most interesting new literature over the past year can be planned.
An in-depth study of literary theory by schoolchildren will be facilitated by classes in a circle on any one literary theoretical topic (For example: “Development of Russian versification”, “Features of Russian romanticism”, “Individual style of L.N. Tolstov”, “Genre and stylistic diversity of modern poetry” ").
Can be used as part of literary circle classes great amount modern methods and techniques.
1. Heuristic conversation communicative directionality). “One of the verbal teaching methods. From the point of view of the level and nature of students’ cognitive activity, conversation is one of the partially search methods of teaching. Heuristic conversation gets its name from the Greek. heuristic – “I search, I open.” The essence of a heuristic conversation is that the master, by asking students certain questions and joint logical reasoning with them, leads them to certain conclusions that constitute the essence of the phenomena, processes, rules, etc. under consideration. Collective conversation creates an atmosphere of general interest, which significantly degree contributes to comprehension and systematization of students’ knowledge and experience, has a positive effect on the development of students’ thinking, especially creative thinking.”
2. Statement and discussion of problematic issues(block development regulatory actions). Includes actions that ensure students organize their own educational activities: 1. goal setting (setting a task based on the correlation of what is already known and learned by the student and what is still unknown); 2. planning - determining the sequence of actions; 3. forecasting - anticipation of the result and level of assimilation; 4. reflection – returning to the goal of the lesson, analyzing what has been achieved, analyzing one’s own results and impressions of the lesson.
3. Individual and collective research activities(development of a block of universal educational activities cognitive directionality). “The work of the literary circle is aimed at maximizing the development of students’ amateur performances. Therefore, the main form of classes is the preparation of reports by members of the circle with the help of the leader, their discussion (it is advisable to prepare both co-speakers and opponents in advance). Includes the preparation of presentations and speeches (reports) on a given topic. Aimed at stimulating research abilities, clarifying and developing theoretical knowledge
4.
Collective and individual creative work, creative workshops(block personal and communication universal educational actions).
Oral work aimed at completing a specific task, using knowledge and skills in other school subjects. “In workshop technology, the main thing is not to communicate and master information, but to convey methods of work. Effectiveness is expressed in students’ mastery of creative skills, in the formation of a personality capable of self-improvement and self-development. A workshop is an original way of organizing the activities of students in a small group (7-15 students) with the participation of a master teacher who initiates the exploratory, creative nature of the students’ activities.” A significant place in the work of the circle is occupied by mass work: preparation of reader conferences and debates, management of literary departments, publication of newspapers, etc.
5. Expressive reading, analysis of poems, identification of themes and issues, etc.(block subject universal educational actions, is determined by the content of the academic discipline - literature). Expansion of theoretical knowledge in literature. During class, either at the end or the beginning, it is helpful to spend a few minutes giving students feedback on books they have recently read, which helps develop an aesthetic appreciation for literary texts. As part of this work, it is possible to use critical thinking technologies. For example, compiling a “bank of ideas”, syncwine. Writing a syncwine is a form of free creativity that requires the author to be able to find the most significant elements in information material, draw conclusions and formulate them briefly.
Thus, classes in literature clubs undoubtedly contribute to self-education, ideological and aesthetic education and self-expression of students. But success largely depends on the activities of the teacher. “In literature classes, it is especially important to create an atmosphere of trust: only in such an atmosphere is creative self-disclosure possible. The exclusive role here belongs to the teacher. If he chooses the right position, children will not only be active in class, but will also become excellent assistants in literature lessons.”
II. An example of the lesson “Poems about native nature within the framework of the Literary Local History club”
Lesson structure:
Section 1. Planned educational results.
Subject:
Literature:
As a result of the lesson, students will be able to:
- read works of art (poems or prose) expressively;
- formulate the main idea of the works;
- note the features of landscape poetry;
- improve the skills of analyzing a literary work, the ability to systematize artistic phenomena united by one theme;
- find the means of artistic expression that the poet/writer uses to create images (on a given topic).
Interdisciplinary:
- expand understanding of geography (rivers of the Volgograd region);
- refresh your memory of some points on the history of the region (Battle of Stalingrad).
Metasubject:
Cognitive:
- find reliable information from additional literature on the World Wide Web;
- master semantic reading - independently read conceptual information in a literary text, analyze and summarize the information provided;
- compare objects (works of art on the same topic);
- establish cause-and-effect relationships;
- provide information to different forms(in the form of presentation, photography, oral presentation).
Regulatory:
- determine goals, highlight a problematic situation or problematic issue in educational and life-practical activities;
- choose the means to achieve the goal in the group;
- work according to the algorithm (route sheet);
- assess the degree to which the goal of the lesson has been achieved;
- improve the ability to attract knowledge from various fields to solve a given problem.
Communicative:
- express your opinion (in dialogue, polylogue), justifying it with documentary and literary and artistic information;
- organize work in a group (distribute the roles of group members, determine the tasks of each team member, ask questions, develop a team strategy for successfully achieving the goal);
- find a compromise when completing a task in a group;
- use ICT to achieve your goals.
Personal:
- develop a caring attitude towards nature;
- recognize yourself as a patriot of your small homeland;
- realize the integrity of the world through the aesthetic perception of artistic texts and the beauty of nature native land;
- develop a respectful, friendly, tolerant attitude towards each other.
II. Organizational structure classes
Designed for two hours as part of the work program “Literary Local History of Volgograd”. It is assumed that the lesson will be three or three after the students understand the tasks of literary local history. Extracurricular preparation: before the start of the lesson, the children are invited to independently read several works of writers and poets of the Volgograd region, prepare presentations
1. Updating knowledge. (Heuristic conversation)
Greetings.
Teacher: I would like to start today's lesson by reading you a poem.
Reading a poem by heart by the teacher:
Nina Shcherbakova
I love the Volga steppe
gold:
Fields, fields, fields - beyond the horizon,
And the morning lark rings
I love,
and the evening twilight is thick.And the poplar by the road is lonely,
He's somehow special
strict,
Like dust
from all the steppe roads
The leaf weighs heavily
And the wind burns cruelly.I love chamomile
in a simple outfit.
She is both in the heat and in the dry winds
blooms.
Any time of day suits you
This chamomile
With the sun in your eyes.I love cornflowers
in steppe ravines -
They are the blue of heaven,
And next to them
breathe more freely -
The earth is happy for them and the soul is happy for them
glad.From the heart they pour into the world
simple words:
And he has a song
season,
When the fields, fields are beyond the horizon,
When the Trans-Volga steppe -
gold.
- Guys, what can you say about this poem? What is its theme? What can you learn about the author by reading this poem? What influences the mood of the lyrical heroine?
Student answers. It is expected that they will say that the author was born on the territory of the Volgograd region, and that the main theme is the beauty of the nature of the Volga region.
Teacher: Well done. I would like to read you quotes. “Life, history, nature, culture, way of life, and customs of the region become a source of inspiration for the writer. Great works of art are inseparable from both the era and the area that gave birth to them and left an indelible imprint on them,” notes N.A. Milonov. “Literary local history,” according to N. Travushkin, “is the same history of literature, but distinguished by a special selection and grouping of material. In literary local history, various works devoted to the life and work of the famous writer in connection with the history and life of this region have developed and are fruitfully developing.” Guys, how do you understand these lines?
Students' reflections.
2. Goal setting stage
Teacher: In the last lesson, we talked about what goals and objectives literary local history has. Let's call them again.
Students' response. That's right, well done. This means that we can say that one of the tasks of literary local history can be called the study of the works of local authors. You prepared reports and presentations about Volgograd poets and writers. What do you think we will do in class today?
Student answers. Students, based on the above, conclude that the purpose of the lesson is to identify the main themes in the works of poets and writers of the Volgograd region, in particular to talk about poems about nature.
3. Creating a problematic situation
Teacher: Guys, today we will try to answer the question of how the area where they grew up can influence the work of writers and poets. And we will do this using the example of the work of Volgograd authors. Tell me, what authors have you read? (Students' answers.)
Exercise: Creation of a bank of ideas: “Main themes and ideas in the works of Volgograd poets”
Teacher: Let's create a “Bank of Ideas”. Each of you will now receive an empty diagram ( Annex 1 ). As our lesson progresses, you can independently expand your knowledge by recording your ideas in our “bank”. I will also take note of your suggestions. Tell me, what themes can you name in the works you read?
Students' answers. The teacher records them on the board/slide or poster. Among the main ones will be the theme of a small homeland, nature, and possibly the Battle of Stalingrad. As classes progress, the “bank of ideas” is supplemented, i.e. Each topic is accompanied by a “subtopic”, or problem ( Annex 1 )
Teacher: I suggest we talk about each topic step by step. Let's listen to a musical composition.
Any musical composition about a river in the Volgograd region sounds (for example, V. Vysotsky’s “Like the Mother Volga”)
Teacher: Guys, did you like the song? What river is it about? What other rivers do you know in the Volgograd region? What is their economic importance?
Student answers. Children briefly talk about rivers and their significance. It is expected that children name the most famous rivers - Volga, Don, Medveditsa, Khoper.
Teacher: As you know, poets and writers have always glorified the beauty of nature in their works. Listen to a poem about the Don River, author of which is A.S. Pushkin (reading a poem by heart by the teacher).
Shining among the wide fields,
There it is pouring!.. Hello, Don!
From your distant sons
I brought you a bow.
Like an illustrious brother,
The rivers know quiet Don;
From Araks and Euphrates
I brought you a bow.
Having rested from the evil pursuit,
Feeling my homeland,
The Don horses are already drinking
Arpachai stream.
Prepare, dear Don,
For dashing riders
The juice is boiling, sparkling
Your vineyards.
Teacher: How does this poem make you feel? Why do you think poets turn to this topic?
Students' answers. The teacher complements and explains that most often writers and poets depict in their works nature and those regions that are especially dear to them. And, of course, first of all, these are the places where they were born. This is how the image of a small homeland appears in the lyrics.
Task 2. Analysis of poems about nature.
Teacher: Now let's divide into groups. Each group will receive a “Route Sheet” with a task. Let's begin our journey! (Example route sheet in Appendix 2, the teacher chooses the works himself).
4. Planning stage
Students study the route sheet, discuss the work plan, and distribute their roles in the team.
5. Stage of discovery of new knowledge
Teacher: What image of nature is created in these poems?
Students' response: The image of the native river.
Next, students analyze literary texts, based on the questions proposed in the route sheets (each team thinks in turn). The guys can choose one answerer, or answer in turn the questions posed on the route sheet. While the children answer, the rivers in question are shown on the screen.
Teacher: Guys, look how beautiful and diverse the poems that we analyzed are! How many means of artistic expression poets use to convey the beauty of rivers and convey feelings of admiration for nature! Let's also try to express our feelings about the rivers we are talking about and do this with the help of syncwine (critical thinking technology)
Students remember what a syncwine is, and each team offers their own versions of a syncwine about rivers.
Teacher: Guys, what other images, besides rivers, do poets of the Volgograd region paint in their poems? Don't forget to replenish your idea bank!
The children read expressively and recite by heart various poems about the nature of Volgograd poets.
Next, a conclusion is drawn on the topic, there is a smooth transition to the next lesson, because the guys emphasize that the theme of nature is not the only one in the works of Volgograd authors. Homework could be to prepare reports on Boris Ekimov, Tatyana Bryksina and other Volgograd writers.
III. Conclusion
Thus, within the framework of a lesson in a literary circle, many learning skills can be developed in students, both personal and communicative. As part of classes at a literary circle, a huge number of modern methods and techniques can be used.
Bibliography:
1. Eremina O.A. Literary club at school. 5-6 grades / O.A. Eremina. – M.: Education, 2012, p.143
2. Lakotsepina, T.P. Modern lesson. Part 6 (integrated lessons) / T.P. Lakotsepina. – M.: Uchitel Publishing House, 2008.
3. Milonov, N.A. Literary local history / N.A. Milonov. – M.: Education, 1975. – P. 10.
4. Development of children’s creative abilities in associations of young journalists and literary and creative associations / comp. IN. Tanuilova. – Rostov-on-Don, 2002, 105 p.
5. Travushkin, N. From life to images. Some questions of literary local history // Volga. – 1966. – No. 5. – P. 163.
6. http://osvarke.info/229-yevristicheskaya-beseda.html. Information site for masters and teachers of special disciplines.
municipal educational budgetary institution
"Basic secondary school No. 5"
WORKING PROGRAMM
academic subject, course
literary circle
_____________________
(name of subject, course)
201 7
EXPLANATORY NOTE
Working programm extracurricular activities “Literary Club” was developed on the basis of the Federal State Educational Standard general education, Concepts of spiritual and moral development and personality education of a citizen of Russia, Model work program “Literary circle”, author O. A. Eremina (Manual for teachers educational institutions. Moscow: Publishing House "Prosveshchenie", 2012.)
The practice of organizing literary circle classes at school not only helps to better understand the school curriculum, but also expands the reading range of children, since works that are not included in the school curriculum are considered. This is especially true these days, when reading in many families has been replaced by television and computer games. Tasks are offered that involve children in independent creative and exploratory research.
The proposed course is designed for extracurricular work with children in grades 5-7, but can also be used in institutions of additional education.
Purpose of extracurricular activities- transformation of the development process
intellectual and creative potential of the child’s personality by improving his literary abilities in the process of self-development.
Course objectives:
Develop the cognitive needs of schoolchildren;
Activate creativity;
Teach children the special knowledge necessary to carry out
independent research;
Form and develop important theoretical knowledge in children;
To form ideas about research learning as the leading method of educational activity.
Relevanceof this program is that its content reflects the basic principles of constructing literary education for children of secondary school age.
Children's age: 11-14 years.
Implementation deadlines: The program lasts 3 years.
The work program is designed for 102 hours in accordance with the calendar training schedule. Changes have been made: visiting an exhibition of illustrations of literary works - 1 hour; visiting a performance based on a literary work - 2 hours, watching a feature film - 1 hour.
general characteristics extracurricular activities
Creative and cognitive aspects of activity are mandatory components of any type of activity. The total subject of creative and cognitive activity is all of reality, its product is knowledge. In the case of a collective subject, this is scientific knowledge as a whole; for an individual - individual knowledge, obtained, as a rule, by mastering the foundations of scientific knowledge accumulated by humanity. The main criterion for identifying this side of extracurricular activities as an independent direction is the fact that without modeling reality, without transferring to subsequent generations and multiplying knowledge, no activity is possible, because it is based on information processes of obtaining, storing, transforming and using information.
The program will help students to better master the school curriculum, expand their reading range, teach them to listen carefully to each other, and allow them to establish mutual understanding between children. The program involves training schoolchildren who are interested in studying literature. The program provides for a consistent expansion of knowledge about literature.
Distinctive features of the program: the program is personality-oriented, activity-based and developmental in nature and consists of three main blocks: subject-activity, functional literacy block and personal growth block.
The program is implemented based on the following principles:
The principle of the development of thought formation, in which the entire system of ideas about literature is based on images that arise when reading literary works;
The principle of developing partnership interactions between students and the teacher and among themselves;
The principle of development of coactivity, which regulates the use of methods for developing student activity strategies aimed at verbal creativity.
The course is structured in stages. Every year, students learn new things, building on existing knowledge. Knowledge gradually expands, deepens, systematizes, and becomes generalized.
The proposed literary circle program includes three relatively independent subprograms:
Literary skills training;
Independent reading of literary works, their analysis, research practice;
Monitoring of literary and research activities.
Literary skills training .
During this training, students must acquire special knowledge, skills and abilities literary analysis, namely:
See problems;
Ask questions;
Make hypotheses;
Define concepts;
Classify;
Observe;
Conduct experiments;
Draw conclusions and conclusions;
Structure the material;
Prepare texts of your own messages;
Explain, prove and defend your ideas.
Independent activity students
The main content of the work is for students to conduct independent research and complete creative project. Classes within this subprogram are structured in such a way that the child’s degree of independence gradually increases.
Monitoring of literary activities
This part of the program is as important as the previous two. Monitoring includes activities necessary to manage the process of solving literary teaching problems. The child must know that the results of his work are interesting to others, and he will definitely be heard. He needs to master the practice of presenting the results of his own research and master the ability to argue for his own judgments.
The main form of completing assignments is independent work of students. Collective work is also provided: discussion of solutions found independently, joint research of the problem.
Description of the place of extracurricular activities in the curriculum
The work program is designed for 102 hours in accordance with the calendar training schedule. Classes are held once a week outside of school hours. The duration of the lesson is 40 minutes.
Forms and mode of operation :
Heuristic conversation;
Individual, group and collective research
activity;
Expressive reading;
Creative workshops;
Articulation warm-ups;
Discussion of problematic issues;
Competitions;
Mini-concerts;
Word drawing;
Publication of the school “Literary Newspaper” (or almanac)
Work is carried out in the afternoon. Most of the time is spent
for practical work, educational material is given through visual,
practical training in a form that is accessible and interesting to students.
The main form of completing assignments is independent work of students. Collective work is also provided: discussion of solutions found independently, joint research of the problem, exhibitions, conferences.
Planned results of extracurricular activities
The planned results of students mastering the extracurricular activity program are the following: students will develop personal, meta-subject (regulatory, cognitive, communicative) and subject-specific universal learning activities.
Personal results is the formation of the following universal learning actions (UAL):
Explain from the perspective of universal humanity moral values why specific actions can be assessed as good or bad.
In the given situations, make a choice about what action to take.
Positive attitude to literary activity;
A broad motivational basis for literary activity, including social, educational, cognitive and external motives;
Interest in new content and new ways of knowing;
The student will have the opportunity to form:
The student’s internal position at the level of understanding the need for literary activity, expressed in the predominance of cognitive motives and the preference for a social method of assessing activity;
Expressed cognitive motivation;
Sustained interest in new ways of knowing;
Adequate understanding of the reasons for the success/failure of literary activity;
Moral consciousness, the ability to solve moral problems based on
taking into account the positions of partners in communication, sustainable adherence to moral standards and ethical requirements in behavior.
Meta-subject results is the formation of the following UUD:
Regulatory UUD:
Learns to work according to the plan proposed by the teacher.
Learn to distinguish a correctly completed task from an incorrect one.
Learn together with the teacher and other students to give an emotional assessment of the class’s activities in the classroom.
Cognitive UUD :
To navigate your knowledge system: distinguish new things from what you already know with the help of a teacher.
Make a preliminary selection of information sources: navigate the literature.
Gain new knowledge: find answers to questions using literature, your life experience and information received in class.
Process the information received: draw conclusions as a result collaboration in pairs, groups.
Process the information received: compare and group objects and their images.
Communicative UUD :
Communicate your position to others: formalize your thoughts verbally and writing(at the level of a sentence or small text).
Listen and understand the speech of others.
Learn to perform different roles in a group (leader, performer, critic).
Show respect and willingness to comply with jointly established agreements and rules (both with peers and with adults).
Subject results is the formation of the following
skills:
Evaluate the actions of characters in literary works.
Distinguish between literary types and genres, types of verbal creativity.
Create your own texts.
Give examples from literary works.
Analyze literary texts.
Create individual, group and collective projects based on literary works.
Contents of the extracurricular activities program
Folklore.
Deities of Slavic paganism. Slavic mythology. Myth theory.
"Veles's book". Dating with the Mythological Dictionary.
Children's folklore. Lullabies, nursery rhymes, jokes, chants, teasers, counting rhymes, sentences, tongue twisters. Heuristic conversation.
Features of children's folklore. Imaginativeness of children's folklore.
Word creation. Mentoring. Tales. Changelings.
Word creation. The rhythm of fables.
Tales about animals, magic, everyday tales.
Fairytale intonation. "Chatterbox" is a Russian folk tale. Painting by V.M. Maksimov "Grandmother's Tales".
Fairytale intonation.
French fairy tale "The Fox and the Partridge". Comparison with the fable of I.A.
Krylov "The Crow and the Fox".
Norwegian cycle of fairy tales about the fox Mikkel and the bear Bamse. Comparison with the Russian folk tale "The Man and the Bear".
Fairy tales. Travel as an important element of the plot of a fairy tale. “Feather of Finist Yasna-Falcon.”
Fairy tale heroes.
Features of a fairy tale.
Symbolism of a fairy tale. What is a symbol? Symbolism of Russian folk tales.
Fairy tales are a reflection of the spirit of the people.
Practical work: verbal drawing, learn a joke, counting rhyme
or a nursery rhyme, compose your own upside-down fable, read a fairy tale
out loud with fairy-tale intonation, creating illustrations for a fairy tale
“The Feather of Finist Yasna-Falcon”, viewing of the cartoon “Lullabies”
peace."
A.S. Pushkin . "Ruslan and Ludmila". The history of the creation of the poem. Plot
and the heroes of “Ruslan and Lyudmila”. Features of the plot of the poem “Ruslan and
Lyudmila." Heroes of the poem: Ruslan, Lyudmila, Farlaf, Ratmir, Chernomor,
Naina, head.
Practical work: quiz on the poem “Ruslan and Lyudmila”, viewing
feature film "Ruslan and Lyudmila".
M.Yu. Lermontov. Fairy tale "Ashik-Kerib".
Practical work: expressive reading. School graduation
"Literary newspaper".
Dwarfs and elves in fairy tales and legends Western Europe. "Thomas -
rhymer." Scottish legend.
Practical work: reader's conference. Visit the exhibition
illustrations of literary works
J. R. R. Tolkien. The story-fairy tale “The Hobbit, or There and Back Again.”
Travels with Bilbo Baggins.
Practical work: reading a story-fairy tale
P.P. Bazhov . Collection of tales “The Malachite Box”. Tale
"Tanya the craftswoman." Secrets of the Malachite Box.
Practical work:Reading a story. Quiz.
B.V. Shergin . Pomeranian childhood in the story “Murmansk plovers” Loyalty to friendship in the story “Misha Laskin”
Practical work: expressive reading of a story
Sat-Ok. The fate of the writer. "Mysterious Footprints" "Mysterious
footprints". Books about Indians
Practical work: expressive reading, book review
V.P. Krapivin. Fantastic story "I'm going to meet my brother."
The team and "Caravelle". "Building our world."
Practical work:illustration for the story, my own composition
stories. Attending a performance based on a literary work.
Theory of verse. Poetry: rhyme, types of rhyme. Poetry: verse dimensions.
"Goose feather".
Practical work:writing your own couplet, quatrain
Publication of the school “Literary Newspaper”. What to read in summer? Class-
contest.
6th grade
What is a miracle? F.G. Lorca "How the snail went"
travel and who she met along the way"
Introduction to the book by A.S. Green "Scarlet Sails"
L. V. Soloviev “The Beast Called the Cat” (excerpt from “The Tale of
Khoja Nasreddin")
V. P. Krapivin . Fantastic story “Shot from the Monitor”
The feat of Galien Tucca. Exit to the Road.
“Where does the road lead?” Creative workshop.
Afanasy Nikitin. "Walking beyond the three seas." Amazing India.
“The Life of Archpriest Avvakum, written by himself.” Miracles,
seen by the archpriest.
The lives of children in different eras . A. N. Tolstoy “Peter the Great”
(excerpts).
One Hundred Years Later: The Life of Noble Children . A. S. Pushkin
« Captain's daughter"(excerpt).
The life of peasant children. N. A. Nekrasov. Poems,
dedicated to Russian children. Express concert.
K. M. Stanyukovich "Maximka".
A. P. Chekhov "Vanka."
V. A. Oseeva "Dinka", "Dinka says goodbye to childhood."
"Children and Epochs". Readers' conference.
Creative workshop.
Yu. V. Drunina "Zinka."
Children and war . Presentation of projects.
Jack London "How they hanged Cultus George."
V. K. Arsenyev "Dersu Uzala."
I. A. Efremov "White Horn".
7th grade
A.A. Bestuzhev "Evening at the bivouac"
O.M.Somov "Mermaid"
A.S. Pushkin "Gypsies". Reading laboratory
N.V.Gogol "Portrait"
S.T. Aksakov "Feature article winter day»
F.M.Dostoevsky "The Boy at Christ's Christmas Tree"
A. Pogorelsky "The Magician's Visitor" Reading laboratory
M.A. Bulgakov "Red Crown"
D.B.Kedrin "Pyramid"
A.P.Platonov "Ivan the Great"
F.A. Abramov "Skillful fingers"
A.I.Kuprin "Executioner"
M.A. Sholokhov "Foal"
G.N. Troepolsky "White Bim Black Ear". View film
V.A. Soloukhin « Magic wand»
V.P.Astafiev "Kuzyaka"
Thematic planning with identification of main types
extracurricular activities
5th grade
| № p/p | Program section | Number of hours | Main types extracurricular activities students | Scheduled date Friday | Actual date |
| Folklore | |||||
| Reading jokes Counting rhymes, nursery rhymes. | word drawing, memorization, composition, creation of illustrations Creative retelling Reading competition | 2.09 | 2.09 |
||
| word drawing, learning jokes, counting rhymes or nursery rhymes, | 9.09 | 9.09 |
|||
| Writing your own fables- shapeshifter | 16.09 | 16.09 |
|||
| Introduction to the work “Finist’s Feather” Jasna Sokola" | 23.09 30.09 | 23.09 30.09 |
|||
| Reading fairy tales out loud fabulous intonation. | 7.10 | 7.10 |
|||
| Creation of illustrations to the magical fairy tale "Finist's Feather" Jasna Sokola. | Exhibition of drawings Word drawing | 14.10 | 14.10 |
||
| Watching a cartoon "Lullabies of the World." | 21.10 | 21.10 |
|||
| A.S. Pushkin Poem Quiz "Ruslan and Ludmila" | Quiz Watching a movie | 28.10 | 28.10 |
||
| 10. | View artistic film "Ruslan and Lyudmila." | 11.11 | 11.11 |
||
| 11. 12. | M.Yu Lermontov Fairy tale "Ashik-Kerib" | Expressive reading, school graduation "Literary newspapers." | 18.11 25.11 | 18.11 25.11 |
|
| 13. 14. | Dwarves and elves in fairy tales and legends Western Europe | Reader's conference | 2.12 9.12 | ||
| 15. 16. | J. Tolkien "The Hobbit, or There and Back Again" | Reading a story-fairy tale, word drawing | 16.12 23.12 | ||
| 17. 18. 19. | P.P. Bazhov "Malachite Box" | Reading a story. Quiz. | 13.01 20.01 27.01 | ||
| 20. 21. | B.V. Shergin Stories | Expressive reading story | 3.02 10.02 | ||
| 22. 23. | Sat-Ok The story “Mysterious Traces” | Expressive reading, book review | 17.02 24.02 | ||
| 24. 25. 26. | V.P. Krapivin | Illustration for stories, essay own story | 3.03 10.03 17.03 | ||
| 27. 28. | Visit performance based on literary work | Visit performance based on literary work | 24.03 7.04 | ||
| 29. 30. 31. 32. | Verse theory | Composition own couplets, quatrains Lesson-competition. | 14.04 21.04 28.04 5.05 | ||
| 33. 34. | School "Literary newspaper" | School graduation "Literary newspapers". | 12.05 19.05 | ||
| Just an hour. |
6th grade
| № p/p | Program section | Number of hours | Main types extracurricular activities students | Scheduled date | date in fact |
| F.G. Lorca “How the snail went traveling and who she met on the way" | Game "Association" reading and discussion of the ballad | 8.09 | 8.09 |
||
| A. S. Green "Scarlet Sails" | Game "Visiting" mnemosynes", view movie "Scarlet Sails" | 15.09 22.09 | 15.09 22.09 |
||
| L. V. Solovyov "The Beast Called Cat" (excerpt from | Game "Visiting" mnemosynes", reading, retelling | 29.09 6.10 | 29.09 6.10 |
||
| 8. 9. | V.P. Krapivin The story "I'm going to meet my brother" | Reading and retelling individual chapters | 13.10 20.10 27.10 10.11 | 13.10 20.10 27.09 10.11 |
|
| 10. 11. | Old Russian literature “The Life of Archpriest Avvakum, written by himself.” A.N. | Heuristic conversation, reading Old Russian text, oral history | 17.11 24.11 | 17.11 24.11 |
|
| 12. 13. 14. 15. | Creative workshop | School graduation literary newspaper | 1.12 8.12 15.12 22.12 | ||
| 16. 17. 18. | Reading competition | Express concert | 12.01 19.01 26.01 | ||
| 19. 20. 21. 22. 23. 24. 25. 26. 27. | Children's life in different eras: K. M. Stanyukovich “Maximka”. A.P. Chekhov “Vanka”. V. A. Oseeva “Dinka”, “Dinka says goodbye to childhood.” Yu. V. Drunin “Zinka”. Jack London "How Cultus George was Hanged" The hero is a teenager in T. White’s “Candle in the Wind” S. Aksakov “Childhood years of Bagrov - grandson” Heroes of I. Turgenev’s story “Bezhin Meadow” | Reader's conference | 2.02 9.02 16.02 2.03 9.03 16.03 23.03 6.04 13.04 | ||
| 28. 29. | Children and war | Presentation of projects | 20.04 27.04 | ||
| 30. 31. 32. 33. 34. | Adventures and Fantastic V. P. Krapivin. Fantastic story “Shot from the Monitor” | Reading, retelling | 4.05 11.05 18.05 25.05 25.05 | ||
| Just an hour |
7th grade
| № p/p | program section | number of hours | types of extracurricular activities of students | date plan | date fact |
| A.A. Bestuzhev “Evening at the bivouac” | drawing up a thesis plan expressive reading | ||||
| O.M. Somov “Mermaid” | expressing impressions of what you read | ||||
| A.S. Pushkin “Gypsies”. Reading laboratory | characteristics of the conflict | ||||
| N.V. Gogol “Portrait” | 2 | characteristics of the construction features of the work | |||
| S.T. Aksakov “Essay on a winter day” | analysis of visual and expressive means | ||||
| F. M. Dostoevsky “The Boy at Christ’s Christmas Tree” | determining the artistic role of the interior in the short story | ||||
| A. Pogorelsky “Visitor to the Magician”. Reading laboratory | character characteristics | ||||
| M.A. Bulgakov “Red Crown” | characterization of the essence of tragedy in the short story | ||||
| D.B. Kedrin “Pyramid” | characteristics of the heroic and humanistic in the characters of the heroes | ||||
| A.P. Platonov “Ivan the Great” | character assessment | ||||
| F.A. Abramov “Golden Hands” | |||||
| A.I. Kuprin “Executioner” | |||||
| M.A. Sholokhov “Foal” | definition of the type of conventions | ||||
| G.N. Troepolsky. "White Bim Black Ear". View film | |||||
| V.A. Soloukhin “Magic wand” | determining the meaning of the title of a work | ||||
| V.P.Astafiev “Kuzyaka” Literary newspaper | |||||
| total hours | |||||
Description of the material and technical equipment of extracurricular activities
Special support (equipment):
Works fiction;
Literary encyclopedias, reference books, dictionaries;
Illustrations for works;
Technical equipment:
Computer, multimedia projector, exposure screen.
Name of training equipment
1 Printed products
Russian folk tales
Tales of the peoples of the world
Children's folklore
Mythological dictionary
A.S. Pushkin. Poem "Ruslan and Lyudmila"
M.Yu. Lermontov. Fairy tale "Ashik-Kerib"
Legends of Western Europe
J.R.R. Tolkien "The Hobbit, or There and Back Again"
P.P. Bazhov “Malachite Box”
B.V. Shergin. Stories
Sat-Ok. The story “Mysterious Traces”
V.P. Krapivin. The story "I'm going to meet my brother"
F.G. Lorca “How the snail went to travel and who
she met on the way"
A.S. Green "Scarlet Sails"
L. V. Solovyov “The Beast Called Cat” (excerpt from
"Tales of Khoja Nasreddin")
V. P. Krapivin. Fantastic story "Shot with
monitor"
Afanasy Nikitin. "Walking beyond the three seas."
- “The Life of Archpriest Avvakum, written by himself.” A.N.
Tolstoy “Peter the Great” (excerpts).
A. S. Pushkin “The Captain's Daughter” (excerpt).
K. M. Stanyukovich “Maximka”.
A.P. Chekhov “Vanka”.
V. A. Oseeva “Dinka”, “Dinka says goodbye to childhood.”
Yu. V. Drunin “Zinka”.
Jack London "How Cultus George was Hanged"
V. K. Arsenyev “Dersu Uzala”.
I. A. Efremov “White Horn”.
A. A. Bestuzhev “Evening at the bivouac”
O. M. Somov “Mermaid”
A. S. Pushkin “Gypsies”. Reading laboratory
N. V. Gogol “Portrait”
S. T. Aksakov “Essay on a winter day”
F. M. Dostoevsky “The Boy at Christ’s Christmas Tree”
A. Pogorelsky “Visitor to the Magician”. Reading laboratory
M. A. Bulgakov “Red Crown”
D. B. Kedrin “Pyramid”
A.P. Platonov "Ivan the Great"
F. A. Abramov “Golden Hands”
A. I. Kuprin “Executioner”
M. A. Sholokhov “Foal”
G. N. Troepolsky “White Bim Black Ear.” View film
V. A. Soloukhin “Magic Wand”
V. P. Astafiev “Kuzyaka”
Visual aids
1. Reproductions to the Russians folk tales, fairy tales of the peoples of the world, to the works of art by A.S. Pushkin, M.Yu., Lermontov, P. Bazhova.
2. Films and cartoons
Cartoon “Lullabies of the World”
The film "Ruslan and Lyudmila", "The Captain's Daughter", "Scarlet
sails", "White Bim Black Ear"
Cartoon "Mistress of the Copper Mountain"
Bibliography
1. Eremina O.A. Literary club at school. Grades 5-6: a guide for
teachers of general education institutions.-M.: Education, 2012-140 p.
2. Sample programs of extracurricular activities. Primary and basic
education / ed. V.A. Gorsky - M.: Education, 2011.
3.Federal state educational standard main
general education / Ministry of Education and Science Ros. Federation. - M.:
Enlightenment, 2011.
4. Grigoriev D.V. Extracurricular activities schoolchildren. Methodical
designer: a manual for teachers.-M.: Education, 2011.-223p.
"Literary circle" is the official name of the Russian literary association in Reval (Tallinn), founded in 1898 by local Russians - lovers of literature and resumed its activities in early 1919, after a break caused by the German occupation and events civil war. "Literary Circle" is the only Russian literary organization in Estonia, which has maintained a continuous connection with the pre-revolutionary literary and cultural tradition. In 1920, a new charter of the circle was adopted and officially registered, uniting both writers and literature lovers. The chairman of the “Literary Circle” from 1919 to 1933 was Alexander Simonovich Peshkov (1881-1942), former minister North-Western Government, since 1928 - director of the Tallinn Russian Gymnasium. The long-term secretary of the “Literary Circle” is Maria Ilyinichna Padva (1876-1951), who managed to preserve the property and library of the circle during the difficult years of the revolution and German occupation. By the beginning of 1920, the “Literary Circle” included 96 members, by the end of 1921 - 139, in 1927 - 158, then the number of its members decreased (in 1932-1933 - 35). Among the active members in the 1920s were A.A. Baiov, G.I. Tarasov, P.M. Pilsky, S.P. Mansyrev, V.S. Sokolov.
At the meetings, reports were read on literary and general cultural topics, new literature was discussed, poets and prose writers (I. Severyanin, young local authors) spoke; The circle organized “Literary and Artistic Thursdays” with a music department, and literary competitions were held. The activities of the "Literary Circle", very lively in 1920-21, from 1922 were marked by a protracted crisis, which was overcome only at the end of 1926 after the development of the circle's program for New Year. In 1926-29, the circle was one of the organizers of the “Day of Russian Enlightenment” in Tallinn, an annual celebration of Russian culture in Estonia. In the summer of 1927, the Literary Circle held a literary competition in which 20 authors took part. The prizes were awarded in the field of prose to V.A. Nikiforov-Volgin and P.M. Irtel, who soon became the leading Russian-speaking writers of Estonia, in the field of poetry - I.A. Shefer (a young poet who died early) and B.V. Svobodin. After the next evening of young poets on January 28, 1929, a section of poetic creativity “Cast Iron Ring” was created at the “Literary Circle” (N. Rudnikova, G. Taiga, I. Borman, N. Nekrasova-Dudkina, Irtel, Yu. Ivask, Shefer) - circle in a circle.
However, from the second half of 1929, signs of decline were again noticeable in the activities of the Literary Circle, the number of members was declining, meetings were becoming rare and sparsely attended. In the mid-1930s, one can notice some revival of the circle’s activities - primarily thanks to young people (Irtel, B.A. Nartsisov, Ivask, K.K. Gershelman, E.A. Bazilevskaya, to whom the leadership of the circle passed, although the chairman was the older artist generation N.F. Root). From the second half of 1937, the activity of the circle gradually faded, and ceased in 1938-1940. After establishing Soviet power in Estonia in the summer of 1940 all Russian societies and organizations were closed. This formally put an end to the existence of the Literary Circle.