Coursework: Development of imagination. Great Leningrad Library - abstracts - development of imagination

Development of imagination - A purposeful process aimed at developing the brightness of imaginary images, their originality and depth, as well as the fruitfulness of the imagination. Imagination in its development is subject to the same laws that other mental processes follow in their ontogenetic transformations. As perception, memory and attention, expression gradually turns from direct into mediated, and the main means of mastering it on the part of the child are, as was shown by A.V. Zaporozhets, model representations and sensory standards.

By the end of the preschool period of childhood, in a child whose creative imagination develops quite quickly (such children, according to O.M. Dyachenko, make up approximately one fifth of all children of this age), imagination is presented in two main forms: as the generation of some idea and as the emergence of a plan for its implementation.

In addition to its cognitive-intellectual function, imagination in children plays another - affective-protective - role, protecting the growing and easily vulnerable, still weakly protected personality of the child from excessively difficult experiences and mental trauma. Thanks to cognitive function With the help of imagination, the child gets to know the world around him better and solves the problems that arise before him more easily and effectively. The emotional-protective function of the imagination is expressed in the fact that through an imaginary situation, tension can be discharged and a unique, symbolic (figurative) resolution of conflicts can occur, which are difficult to resolve with real practical actions.

At the first stage of development, imagination is associated with the process of objectifying an image through action. Through this process, the child learns to manage his images, change, clarify and improve them, and therefore, regulate his imagination. However, he is not yet able to plan with his imagination, to draw up a plan for upcoming actions in advance. This ability appears in children only by the age of 4-5.

Affective imagination in children aged 2.5-3 to 4-5 years develops according to a slightly different logic. Initially, negative experiences in children are symbolically expressed in the characters of fairy tales heard or seen (in movies, on television). Following this, the child begins to build imaginary situations that remove threats to his “I” (stories - children’s fantasies about themselves as having particularly pronounced qualities). Finally, at the third stage of development of this function, the ability to relieve emerging emotional tension develops through the mechanism of projection, thanks to which unpleasant knowledge about oneself, one’s own negative, emotionally and morally unacceptable qualities begin to be attributed to other people, as well as objects and animals.

By the age of about 6-7 years, the development of affective imagination in children reaches a level where many of them are able to imagine themselves and live in an imaginary world.

A person is not born with a developed imagination. The development of imagination occurs during human ontogenesis and requires the accumulation of a certain stock of ideas, which can later serve as material for creating images of the imagination. Imagination develops in close connection with the development of the entire personality, in the process of training and education, as well as in unity with thinking, memory, will and feelings.

It is very difficult to determine any specific age limits that characterize the dynamics of imagination development. There are examples of extremely early development of imagination. For example, Mozart began composing music at the age of four, Repin and Serov could draw well at the age of six. On the other hand, the late development of imagination does not mean that this process will be at a low level in more mature years. History knows of cases where great people, for example Einstein, were not distinguished by a developed imagination in childhood, but over time they began to be talked about as geniuses.

Despite the difficulty of determining the stages of development of imagination in humans, certain patterns in its formation can be identified. Thus, the first manifestations of imagination are closely related to the process of perception. For example, children aged one and a half years are not yet able to listen to even the simplest stories or fairy tales; they are constantly distracted or fall asleep, but listen with pleasure to stories about what they themselves have experienced. This phenomenon clearly shows the connection between imagination and perception. A child listens to a story about his experiences because he clearly imagines what is being said. The connection between perception and imagination continues at the next stage of development, when the child begins to process received impressions in his games, modifying previously perceived objects in his imagination. The chair turns into a cave or an airplane, the box into a car. However, it should be noted that the first images of a child’s imagination are always associated with activity. The child does not dream, but embodies the processed image in his activities, even though this activity is a game.

An important stage in the development of imagination is associated with the age when a child masters speech. Speech allows the child to include in the imagination not only specific images, but also more abstract ideas and concepts. Moreover, speech allows the child to move from expressing images of imagination in activity to their direct expression in speech.

The stage of speech acquisition is accompanied by an increase practical experience and the development of attention, which allows the child to more easily identify individual parts of an object, which he perceives as independent and with which he increasingly operates in his imagination. However, the synthesis occurs with significant distortions of reality. Due to the lack of sufficient experience and insufficient critical thinking, the child cannot create an image that is close to reality. Main feature This stage is the involuntary nature of the emergence of images of the imagination. Most often, images of imagination are formed in a child of this age involuntarily, in accordance with the situation in which he finds himself.

Next stage The development of imagination is associated with the emergence of its active forms. At this stage, the process of imagination becomes voluntary. The emergence of active forms of imagination is initially associated with stimulating initiative on the part of an adult. For example, when an adult asks a child to do something (draw a tree, build a house out of cubes, etc.), he activates the imagination process. In order to fulfill the request of an adult, the child must first create, or recreate, a certain image in his imagination. Moreover, this process of imagination, by its nature, is already voluntary, since the child tries to control it. Later, the child begins to use his own imagination without any adult participation. This leap in the development of imagination is reflected primarily in the nature of the child’s games.

They become focused and story-driven. The things surrounding the child become not just stimuli for the development of objective activity, but act as material for the embodiment of images of his imagination. A child at the age of four or five begins to draw, build, sculpt, rearrange things and combine them in accordance with his plan. Another major shift in imagination occurs in school age.

The need for understanding educational material causes the activation of the process of recreating imagination. In order to assimilate the knowledge that is given at school, the child actively uses his imagination, which causes the progressive development of the ability to process images of perception into images of imagination.

Another reason for the rapid development of imagination during school years is that during the learning process the child actively acquires new and diverse ideas about objects and phenomena of the real world. These ideas serve as a necessary basis for imagination and stimulate the student’s creative activity.

Literature

Maklakov A. G. General psychology. St. Petersburg: Peter, 2001.

Dyachenko O.M. On the main directions of development of imagination in children // Questions of psychology. - 1988 (61).

BIG LENINGRAD LIBRARY - ABSTRACTS - Development of imagination

Development of imagination

1. Theoretical part

1.1 a brief description of imagination

1.2 Imagination, its essence, forms of expression of imagination, forms of synthesis of ideas in the process of imagination

1.3 Types of imagination

1.4 Development of imagination, conditions for the development of imagination

1.5 Imagination, expression, bodily dialogue

2. Practical part

2.1 Who has a richer imagination: an adult or a child2.2 Test to identify the level of development of a child2.3 Solving imagination problems2.4 Tests to study the development of imagination 1. Theoretical part1.1 Brief description of imaginationImagination- the mental process of creating an image of an object or situation by restructuring existing ideas. Imagination has its source objective reality. And in turn, the products of imagination find objective material expression. It is associated with the characteristics of the individual, her interests, knowledge and skills. The physiological basis of imagination is the formation of new combinations from temporary connections that have already been formed in past experience. Functions of the imagination- representation of activities in images and the ability to use them in solving problems; - regulation of emotional relationships; - voluntary regulation of cognitive processes and human states; - formation of a person’s internal plan; - planning and programming of human activities. Forms of expression of imagination 1. Construction of the image, means and final result of the activity.2. Creating a behavior program in an uncertain situation.3. Creation of images corresponding to the description of the object, etc. Forms of synthesis of representations in imagination processes- agglutination - a combination of qualities, properties, parts of objects that are not connected in reality; - hyperbolization or emphasis - an increase or decrease in an object, a change in the quality of its parts; - sharpening - emphasizing any features of objects; - schematization - smoothing out differences between objects and identifying similarities between them; - typification - isolating the essential, repeating in homogeneous phenomena and embodying it in a specific image. Types of imagination 1. Active imagination is controlled by willpower. Images passive imaginations arise spontaneously, apart from a person’s desire.2. Recreating Imagination- a presentation of something new for a given person, based on a verbal description or conventional image of this new thing. Creative- imagination, giving new, original, first-time images. The source of creativity is the social need for a particular new product. It causes the emergence creative idea, creative idea, which leads to the emergence of something new.3. Fantasy is a type of imagination that produces images that have little correspondence with reality. However, fantasy images are never completely divorced from reality. It has been noticed that if any product of fantasy is decomposed into its constituent elements, then among them it will be difficult to find something that does not really exist. Dreams- a fantasy associated with a desire, most often a somewhat idealized future. Dream It differs from a dream in that it is more realistic and more connected with reality. Dreams- passive and involuntary forms of imagination, in which many vital human needs are expressed. Hallucinations- fantastic visions, as a rule, the result of mental disorders or painful conditions. 1.2 Imagination, its essence, forms of expression of imagination, forms of synthesis of ideas in the process of imagination What is imagination, probably everyone knows. We very often say to each other: “Imagine such a situation...”, “Imagine that you...” or “Well, come up with something!” So, in order to do all this - “imagine”, “imagine”, “invent” - we need imagination. Only a few strokes should be added to this laconic definition of the concept of “imagination”. A person can imagine something that he has never perceived before, that he has never encountered in life, or something that will be created in a more or less distant future. This kind of representation is called representation of the imagination or simply imagination. Imagination- informative higher process, psychological activity, which consists in creating ideas and mental situations that are never generally perceived by a person in reality. The imagination reflects the external world in a unique and unique way; it allows you to program not only future behavior, but also to imagine the possible conditions in which this behavior will be carried out. Imagination - This is not the ability to fantasize without a goal, but the intuitive ability to see the essence of parameters - their natural logic. It combines images of what does not yet exist from materials of memory and feelings, creates an image of the unknown as known, that is, creates its objective content and meaning, considers them valid. Therefore, imagination is the self-movement of sensory and semantic reflections, and mechanism imagination unites them into integrity, synthesizes feelings into thought, resulting in the creation new image or judging the unknown as known. And all this does not happen materially - in the mental plane, when a person acts without working practically. A person’s imagination is his ability to look ahead and consider new item in his future state. Therefore, the past at every moment of a person’s life must exist in accordance with one or another purposefulness towards the future. If memory claims to be active and effective, and not just a repository of experience, it must always be aimed at the future, at the shape of the future self, one's abilities and what one strives to achieve. Such imagination always works: a person transforms objects and raw materials not just in the imagination, but really with the help of imagination, paving the way to the desired object. Of great importance in activating the work of the imagination is astonishment. Surprise in turn is caused by:? the novelty of the perceived “something”;? awareness of it as something unknown and interesting;? an impulse that presets the quality of imagination and thinking, attracts attention, captures feelings and the whole person. Imagination, together with intuition, is capable of not only creating an image of a future object or thing, but also finding its natural measure - a state of perfect harmony - the logic of its structure. It gives rise to the ability to discover, helps to find new ways to develop technology and technology, ways to solve tasks and problems that arise before a person. The initial forms of imagination first appear at the end of early childhood in connection with the emergence of plot role-playing games and the development of the sign-symbolic function of consciousness. The child learns to replace real objects and situations with imaginary ones, to build new images from existing ideas. Further development of imagination goes in several directions.? Along the lines of expanding the range of replaced objects and improving the substitution operation itself, connecting with the development of logical thinking.? Along the lines of improving the operations of reconstructive imagination. The child gradually begins to create increasingly complex images and their systems based on existing descriptions, texts, and fairy tales. The content of these images develops and enriches. A personal attitude is introduced into the images; they are characterized by brightness, richness, and emotionality.? Creative imagination develops when a child not only understands some techniques of expressiveness, but also applies them independently.? Imagination becomes mediated and intentional. The child begins to create images in accordance with the set goal and certain requirements, according to a pre-proposed plan, and control the degree of compliance of the result with the task. INthe image is expressed: 1. In constructing the image of the means and the final result of the subject’s objective activity.2. In creating a behavior program when the problem situation is uncertain.3. In the production of images that are not programmed, but replace activity.4. Creating images that correspond to the description of the object. The most important meaning of imagination is that it allows you to imagine the result of work before it begins (for example, a table in its completed form as a finished product), thereby orienting a person in the process of activity. Using the imagination, creating a model of the final or intermediate product of labor (those parts that must be sequentially produced to assemble a table) contributes to its objective embodiment. The essence of imagination, if we talk about its mechanisms, is the transformation of ideas, the creation of new images based on existing ones. Imagination is a reflection of reality in new, unusual, unexpected combinations and connections. There are 4 types of imagination: - ideas of what exists in reality, but which a person has not previously perceived; - ideas of the historical past; - ideas of what will happen in the future and what has never happened in reality. No matter how new what is created by a person’s imagination , it inevitably proceeds from what exists in reality and is based on it. Therefore, imagination, like the entire psyche, is a reflection of the surrounding world by the brain, but only a reflection of what a person did not perceive, a reflection of what will become reality in the future. Physiologically, the process of imagination is the process of the formation of new combinations and combinations from already established temporary neural connections in the cerebral cortex. The process of imagination always occurs in inextricable connection with two other mental processes - memory and thinking. Just like thinking, imagination arises in a problem situation, that is, in cases where it is necessary to find new solutions; just like thinking, it is motivated by the needs of the individual. The real process of satisfying needs can be preceded by an illusory, imaginary satisfaction of needs, that is, a living, vivid representation of the situation in which these needs can be satisfied. But the anticipatory reflection of reality, carried out in fantasy processes, occurs in a concrete form. Imagination works at that stage of cognition when the uncertainty of the situation is very great. The more familiar, precise and definite a situation is, the less scope it gives for imagination. However, if you have very approximate information about the situation, on the contrary, it is difficult to get an answer with the help of thinking - this is where fantasy comes into play. Speaking about imagination, we only emphasize the predominant direction of mental activity. If a person is faced with the task of reproducing representations of things and events that were previously in his experience, we are talking about memory processes. But if the same ideas are reproduced in order to create a new combination of these ideas or create new ideas from them, we are talking about the activity of the imagination. The activity of the imagination is most closely related to the emotional experiences of a person. Imagining what you want can evoke positive feelings in a person, and in certain situations, a dream about a happy future can bring a person out of extremely negative states, allowing him to escape from the situations of the present moment, analyze what is happening and rethink the significance of the situation for the future. Consequently, imagination plays a very significant role in regulating our behavior. Imagination is also associated with the realization of our volitional actions. Thus, imagination is present in any type of our work activity, since before creating anything, it is necessary to have an idea of ​​​​what we are creating. Imagination, due to the characteristics of the systems responsible for it, is to a certain extent associated with the regulation of organic processes and movement. Imagination influences many organic processes: the functioning of glands, activity internal organs, metabolism, etc. For example: the idea of ​​a delicious dinner causes us to salivate profusely, and by instilling in a person the idea of ​​a burn, you can cause real signs of a “burn” on the skin. We can conclude that imagination plays a significant role in the regulation of body processes of a person, and in the regulation of his motivated behavior. The main tendency of the imagination is the transformation of ideas (images), which ultimately ensures the creation of a model of a situation that is obviously new and has not arisen before. Any new image, new idea correlate with reality and, in case of discrepancy, are discarded as false or corrected. Synthesis of ideas in the processes of imagination is carried out in various forms:- agglutination - connection ("gluing") of various qualities, properties, parts of objects that are not combined in reality, the result can be a very bizarre image, sometimes far from reality; many fairy-tale images are built by agglutination (mermaid, hut on chicken legs, etc. ), it is also used in technical creativity (for example, the accordion is a combination of piano and button accordion); - hyperbolization or accentuation - a paradoxical increase or decrease in an object (Tom Thumb, Gulliver), a change in the number of its parts, any detail or part of the whole is highlighted and made dominant, bearing the main load (dragons with seven heads, etc.); - sharpening - emphasizing any features of objects, with the help of this technique cartoons and evil caricatures are created;- schematization - smoothing out the differences between objects and identifying similarities between them, for example, the artist’s creation of an ornament, the elements of which are taken from the plant world;- you Pisa tion - highlighting the essential, repeating in homogeneous phenomena and embodying it in a specific image, bordering on the creative process, is widely used in fiction, sculpture, and painting. 1.3 Types of imagination Most simple form imagination - those images that arise without special intention or effort on our part. Any exciting, interesting teaching usually evokes a vivid involuntary imagination. An extreme case of voluntary imagination is dreams, in which images are born unintentionally and in the most unexpected and bizarre combinations. The activity of imagination, which unfolds in a half-asleep, drowsy state, for example, before falling asleep, is also involuntary at its core. Voluntary imagination has much more significance for a person. higher value. This type of imagination manifests itself when a person is faced with the task of creating certain images, outlined by himself or given to him from the outside. In these cases, the process of imagination is controlled and directed by the person himself. The basis of such work of the imagination is the ability to voluntarily evoke and change the necessary ideas. According to the degree of expression of activity, they differ: 1) passive imagination; 2) active imagination. According to the degree of independence of imagination and originality of its products, two types of imagination are distinguished - re-creative and creative.Recreating Imagination- presentation of objects new to humans in accordance with their description, drawing, diagram. This type of imagination is used in a wide variety of activities. We encounter this type of imagination when we read descriptions of geographical places or historical events, as well as when we get to know literary characters. The study of geographical maps serves as a unique school of reconstructive imagination. The habit of wandering around the map and imagining various places helps to see them correctly in reality. Spatial imagination, necessary when studying stereometry, develops by carefully examining drawings and natural volumetric bodies from different angles. It should be noted that the recreating imagination forms not only visual ideas, but also tactile, auditory, etc. Most often we are faced with recreating imagination when it is necessary to recreate some idea from a verbal description. However, there are times when we recreate an idea about an object not using words, but on the basis of diagrams and drawings. In this case, the success of recreating an image is largely determined by a person’s spatial imagination abilities, that is, the ability to recreate an image in three-dimensional space. Consequently, the process of recreating imagination is closely related to human thinking and memory. The next type of imagination is creative. It is characterized by the fact that a person transforms ideas and creates new images (which are implemented in original and valuable products of activity) not according to an existing model, but by independently outlining the contours of the created image and choosing the necessary materials for it. At the same time, they differ: objective novelty- if the images and ideas are original and do not repeat anything existing about the experience of other people; subjective novelty- if they repeat previously created ones, but for a given person they are new and original. The creative imagination that arises in work remains an integral side of technical, artistic and any other creativity, taking the form of active and purposeful operation of visual ideas in search of ways to satisfy needs. Creative imagination, as and recreating, is closely related to memory, since in all cases of its manifestation a person uses his previous experience. Therefore, there is no hard boundary between the recreative and creative imagination. The source of creative activity is social necessity, the need for one or another new product. It is wrong to think that creativity is a free play of the imagination that does not require much and sometimes hard work. The so-called inspiration - the optimal concentration of a person’s spiritual forces and abilities - is the result of a lot of previous work. A special form of imagination is dream. The essence of this type of imagination is the independent creation of new images. At the same time, a dream has a number of significant differences from creative imagination. Firstly, in a dream a person always creates an image of what he wants, whereas in creative images the desires of their creator are not always embodied. In dreams, what attracts a person and what he strives for finds its figurative expression. Secondly, a dream is a process of imagination that is not included in creative activity, that is, it does not immediately and directly produce an objective product in the form of a work of art, scientific discovery, technical invention, etc. The main feature of a dream is that it is aimed at future activity, that is, a dream is an imagination aimed at the desired future. Moreover, several subtypes of this type of imagination should be distinguished. Most often, a person makes plans for the future and in his dream determines the ways to achieve his plans. In this case, the dream is an active, voluntary, conscious process. But there are people for whom the dream acts as a substitute for activity. One of the reasons for this phenomenon, as a rule, lies in the failures in life that they constantly suffer. As a result of a series of failures, a person abandons the fulfillment of his plans and plunges into a dream. In this case, the dream acts as a conscious, voluntary process that has no practical completion. There are situations when the dream acts as a unique form of psychological defense, providing temporary escape from problems that have arisen, which contributes to a certain neutralization of the negative mental state and ensuring the preservation of regulatory mechanisms during a decrease in general human activity. Imagination is passive- characterized by the creation of images that are not brought to life; programs that are not implemented or cannot be implemented at all. In this case, imagination acts as a replacement for activity, its surrogate, because of which a person refuses the need to act. It can be: 1) deliberate- creates images (dreams) that are not associated with the will, which could contribute to their implementation; the predominance of dreams in the processes of imagination indicates certain defects in personality development. All people tend to dream about something joyful, pleasant, and tempting. In dreams, the connection between fantasy products and needs is easily revealed. But if dreams predominate in a person’s imaginative processes, then this is a defect in the development of personality, it indicates its passivity. If a person is passive, if he does not fight for a better future, and his real life is difficult and joyless, then he often creates for himself an illusory, fictitious life, where his needs are fully satisfied, where he succeeds in everything, where he occupies a position that he cannot hope now and in real life;2) unintentional- observed when the activity of consciousness, the second signaling system, is weakened, during a person’s temporary inactivity, during his pathological disorders, half asleep, in a dream, in a state of passion. INidesimaginationone can imaginein the diagram1.4 Developmentimagination, conditions for the development of imagination A person is not born with a developed imagination. The development of imagination occurs during human ontogenesis and requires the accumulation of a certain stock of ideas, which can later serve as material for creating images of the imagination. It develops in close connection with the development of the entire personality, in the process of training and upbringing, as well as in unity with thinking, memory, will and feelings. It is very difficult to determine any specific age limits that characterize the dynamics of the development of imagination. Despite the complexity of determining the stages development of a person’s imagination, certain patterns in its formation can be identified. So the first manifestations of imagination are closely related to the process of perception. For example, children aged one and a half years are not yet able to listen to even the simplest fairy tales; they are constantly distracted or fall asleep, but listen with pleasure to stories about what they themselves have experienced. This phenomenon clearly shows the connection between imagination and perception. A child listens to a story about his experiences because he clearly imagines what is being said. The connection between perception and imagination continues at the next stage of development, when the child begins to process received impressions in his games, modifying previously perceived objects in his imagination. The chair turns into a cave or an airplane, the box into a car. It should be noted that the first images of a child’s imagination are always associated with activities. The child does not dream, but embodies the processed image in his activities, even though this activity is a game. An important stage in the development of imagination is associated with the age when the child acquires speech. Speech allows you to include in the imagination not only specific images, but also more abstract ideas and concepts. Moreover, speech allows the child to move from expressing images of the imagination in activity to their direct expression in speech. The stage of mastering speech is accompanied by an increase in practical experience and the development of attention, which allows the child to more easily identify individual parts of an object, which he perceives as independent and which are increasingly operates in his imagination. However, the synthesis occurs with significant distortions of reality. Due to the lack of sufficient experience and insufficient critical thinking, the child cannot create an image that is close to reality. The main feature of this stage is the involuntary nature of the emergence of images of the imagination. Most often, images of imagination are formed in a child of this age involuntarily, in accordance with the situation in which he finds himself. The next stage in the development of imagination is associated with the emergence of its active forms. At this stage, the process of imagination becomes voluntary. The emergence of active forms of imagination is initially associated with stimulating initiative on the part of an adult. Later, the child begins to use his own imagination without any adult participation. This leap in the development of imagination is reflected, first of all, in the nature of the child’s games. They become focused and story-driven. The object of a child's play often exists only in the imagination, just as for adults, the element of imagination is an important transition from the world of work to the world of play and leisure. The things around the child become not just stimuli for the development of objective activity, but act as material for the embodiment of images of his imagination. Another important shift in the imagination occurs at school age. The need to understand educational material determines the activation of the process of recreating imagination. In order to assimilate the knowledge that is given at school, the child actively uses his imagination, which causes the progressive development of the ability to process images of perception into images of imagination. Another reason for the rapid development of imagination during school years is that in the learning process, the child actively receives new and diverse ideas about objects and phenomena of the real world. These ideas serve as a necessary basis for imagination and stimulate the creative activity of the student. We can conclude that the main meaning of imagination is that without it any human work would be impossible, since it is impossible to work without imagining the final result and intermediate results. The activity of the imagination is always correlated with reality. Conditions for the development of imagination The child’s imagination is connected in its origins with the sign function of consciousness that emerges towards the end of early childhood. One line of development of the sign function leads from the replacement of objects with other objects and their images to the use of speech, mathematical and other signs and to the mastery of logical forms of thinking. The other line leads to the emergence and expansion of the ability to supplement and replace real things, situations, imaginary events, and to build new images from the material of accumulated ideas. The child’s imagination is formed in play. At first, it is inseparable from the perception of objects and the performance of game actions with them. The child is riding on a stick, and at this moment he is the rider, and the stick is the horse. But he cannot imagine a horse in the absence of an object suitable for galloping, and he cannot mentally transform a stick into a horse at a time when he is not acting with it. In the play of three- and four-year-old children, the similarity of the substitute object with the object is essential. which it replaces. In older children, the imagination can also rely on objects that are not at all similar to the ones being replaced. From the diary of V.S. MukhinaGame on the floor.Toys: a dog, a squirrel, a badger, two nesting dolls and a key. Ole-Lukoje's key. Two Thumbelina nesting dolls. Kirill puts everyone to bed. Ole-Lukoje approaches everyone and blows on the back of their heads. (Kirill blows himself.) The animals woke up and began to jump: from the bookshelf to the painting, from the painting to bookshelf. And so 18 times. Then the animals went to drink the nectar that Thumbelina had prepared. Then there was the wedding of Ole Lukoye (the little key) and two Thumbelina. Then everyone got tired and went to their usual place - on the shelf. In this case, the key served as sufficient support for the child to imagine a wizard. Gradually, the need for external supports disappears. Interiorization occurs - a transition to playful action with an object that does not actually exist, and to a playful transformation of the object, giving it a new meaning and imagining actions with it in the mind, without real action. This is the origin of imagination as a special mental process. From the observations of K. SternGunther's favorite game is hopscotch. A plan with numbered cells is drawn on the floor; then you need to throw a pebble into one of the cells and, jumping on one leg, knock it out of the cell without touching the line with your foot. Gunther sometimes plays this game in his room, without any equipment. He imagines a drawing on the floor, imagines throwing a pebble, is glad that he hit" 100 " (obviously, the drawing is drawn very vividly before his inner vision), jumps carefully so as not to touch the features, etc. On the other hand, play can take place without visible action, entirely in terms of presentation. From the diary of V.S. MukhinaKirilka arranges toys around her on the ottoman. Lies down among them. He lies quietly for about an hour.- What are you doing? Are you sick?- No. I'm playing.- How do you play?- Yana I look at them and think what’s happening to them. Formed in play, imagination moves into other activities of the preschooler. It is most clearly manifested in drawing and in the child’s writing of fairy tales and poems. Here, just as in a game, children first rely on directly perceived objects or their strokes on paper. From the observations of K. and V. ShternovWe managed to overhear the boy while he was drawing on the board. At first he wanted to draw a camel; probably drew a head protruding from the body. But the camel was already forgotten; the side protrusion reminded him of a butterfly's wing. He said:" Draw a butterfly?" , erased parts of the vertical line protruding at the top and bottom and drew the second wing. Then came:" Another butterfly... Now I’ll draw another bird. Anything that can fly. Butterflies, birds, and then a fly will go" . Depicts a bird." Now the moon! Flies, however, can bite" , - and he put two points (two injections) on the board. The vertical line between them is also included in the image of the fly, but after drawing it, he exclaimed:" Ah, fly! Let me draw the sun!" - and drew it. When writing fairy tales and poems, children reproduce familiar images and often simply repeat remembered phrases and lines. At the same time, preschoolers of three or four years old usually do not realize that they are reproducing what is already known. So, one boy once said: “Listen to how I composed: “A swallow flies towards us with spring in the canopy.” They try to explain to him that he did not compose it. But after a while the boy declares again: “I composed: “Swallow in the spring it flies towards us in the canopy." Another child was also sure that he was the author of the following lines: “I’m not afraid of anyone except my mother of one”... Do you like how I composed it?” They are trying to disabuse him: “It wasn’t you who composed this, but Pushkin: you’re not afraid of anyone except there is only one god." The child is disappointed, "And I thought that I composed it." In such cases, children's compositions are based entirely on memory, not including the work of imagination. However, more often the child combines images, introduces new, unusual combinations. From the diary of E.I. StanchinskayaYura composed a fairy tale:" Lived once two devils. They had small house, there were little devils. They lived far, far away, beyond the sea, beyond the forest, beyond hot countries, in a large dark forest. Here was an old man riding on a golden-winged horse, riding and not knowing where his black horse was. Wolf said:" Go into a dark forest, and there is a step down, there are three doors: one, second, third" . The wolf went with him, opened the doors, took the black horse, tied the golden-maned horse, sat on the black one, and the two horses rushed off. Etc. It is not difficult to trace the origin of all the elements included in the fairy tale. These are images of familiar fairy tales, but their new combination creates a fantastic picture that is not similar to the situations perceived by the child or told to him. The transformation of reality in the child’s imagination occurs not only by combining ideas, but also by giving objects properties that are not inherent in them. Thus, children in their imaginations excitedly exaggerate or understate objects. One wants a tiny globe with everything on it “for real”: rivers and oceans, tigers and monkeys. Another tells how he built “a house up to the ceiling! No, up to the seventh floor! No, up to the stars!” There is an opinion that a child’s imagination is richer than the imagination of an adult. This opinion is based on the fact that children fantasize for a variety of reasons. A three-year-old boy, drawing a corner, added a small hook to it and, struck by the resemblance of this squiggle to a sitting human figure, suddenly exclaimed: “Oh, he’s sitting!” another child, at the same age, one day playing tag and not catching up with the children, littered the ground. A moment later he sat down on a bench and cried: “Now she will always make me sick!” - "Who?" - they ask. - "Greasy land." Another boy sincerely believed that stones could think and feel. He considered the cobblestones very unhappy, since they are forced to see the same thing every day. Out of pity, the child carried them from one end of the road to the other. However, the child’s imagination is actually not richer, but in many ways poorer than the imagination of an adult. A child can imagine much less than an adult, since children have more limited life experience and therefore less material for imagination. The combinations of images that a child builds are also less varied. At the same time, imagination plays a greater role in the life of a child than in the life of an adult, it manifests itself much more often and allows for a much easier departure from reality, a violation of life’s reality. The tireless work of imagination is one of the paths leading to children’s knowledge and mastery of the world around them, going beyond the limits of narrow personal experience. But this work requires constant supervision from adults, under whose guidance the child masters the ability to distinguish the imaginary from reality. The relationship between involuntary and voluntary imagination.The imagination of preschool children is largely involuntary. The subject of imagination becomes something that greatly excites the child. Under the influence of feelings, children compose their own fairy tales and poems. Very often, a child does not know in advance what his poem will be about: “I’ll tell you, then you’ll hear, but for now I don’t know,” he calmly declares. Deliberate imagination, guided by a predetermined goal, is still absent in preschoolers of younger and middle age. It is formed by older preschool age in the process of developing productive types of activities, when children master the ability to build and implement a certain plan in a design. The development of voluntary, deliberate imagination is the same as the development arbitrary shapes attention and memory is one of the aspects general process formation of speech regulation of child behavior. Setting goals and guiding the construction of plans in productive activities is carried out with the help of speech. (1; p.257-261) At primary school age, a child can already create a wide variety of situations in his imagination. Formed in playful substitutions of some objects for others, the imagination passes into other types of activity. In the conditions of educational activity, special demands are placed on the child’s imagination, which defeat him for voluntary actions of the imagination. During the lessons, the teacher asks the children to imagine a situation in which certain transformations of objects, images, and signs occur. These educational requirements stimulate the development of imagination, but they need to be reinforced with special tools - otherwise the child will find it difficult to advance in voluntary acts of imagination. These can be real objects, diagrams, layouts, signs, graphic images and more. By writing all kinds of stories, rhyming “poems”, inventing fairy tales, depicting various characters, children can borrow plots, stanzas of poems, graphic images known to them, sometimes not at all noticing this. However, often a child deliberately combines well-known plots, creates new images, exaggerating certain aspects and qualities of his heroes. A child, if his speech and imagination are sufficiently developed, if he enjoys reflecting on the meaning and meaning of words, verbal complexes and images of the imagination, can come up with and tell an entertaining story, can improvise, enjoying his improvisation himself and including other people in it. In the child’s imagination, he creates dangerous, scary situations. The main thing is overcoming, finding a friend, coming into the light, for example, joy. Experiencing negative tension in the process of creating and unfolding imaginary situations, managing the plot, interrupting images and returning to them trains the child’s imagination as a voluntary creative activity. In addition, imagination can act as an activity that brings a therapeutic effect. A child experienced difficulties in real life, perceiving his personal situation as hopeless, he can retreat into an imaginary world. So, when there is no father, and this brings unspeakable pain, in the imagination one can acquire the most wonderful, most extraordinary, generous, strong, courageous father. Imagination, no matter how fantastic it may be in its storyline, is based on the standards of real social space. Having experienced good or aggressive impulses in his imagination, the child can thereby prepare for himself the motivation for future actions. Imagination plays a greater role in the life of a child than in the life of an adult, manifesting itself much more often, and more often allowing for a violation of life reality. The tireless work of the imagination is the most important path a child’s knowledge and mastery of the surrounding world, a way to go beyond personal practical experience, the most important psychological prerequisite for the development of creativity and a way to master the normativity of social space, the latter forces the imagination to work directly on the reserve of personal qualities. Eiji Kamiya, famous Japanese teacher, professor at Bukyo University ( Kyoto) Specialist in the field of studying problems of imagination, thinking, emotions, play, environmental education of preschool children 1.5 Imagination, expression, bodily dialogue Preschool age can be considered as a transitional stage from “natural” imagination to elements of “cultural” imagination. Of course, for these elements to arise, the guidance of the educator is necessary. However, this guidance should be soft in nature. The gentleness of leadership should be understood this way: without imposing the products of his imagination on children, the teacher proceeds from the embryonic forms of the imagination of the children themselves. This is achieved by a variety of means. The teacher organizes dialogues in which each child expresses his or her vision of the subject. Not only the word, but also the physical image helps him in this. Finally, the teacher initiates the group's "shared imagination" by including his or her own. Thus, the gentleness of leadership ensures the unity of children’s interest with targeted pedagogical support. This corresponds to the idea of ​​L.S. Vygotsky, who defined learning in preschool age as “spontaneous-reactive”, in contrast to “spontaneous” at an early age and “reactive” at school age / see. footnote/. Let's consider this provision using an example environmental education of children. The theme of one of the lessons is dedicated to the swallow. In its course, children are faced with the need to physically portray a character, which makes the images of their imagination more meaningful and underlies soft pedagogical guidance. The teacher and the children examine the swallow chicks in the nest and the parents “raising” them several times. The teacher, first of all, tries to identify the uniqueness of the child’s vision of the situation and how children develop their own assessment of the situation. Two types of views can be distinguished. The first is " actual" . The child only describes the situation: " Baby swallows have eyes"; "Their bodies are black". Answering the question of what the nest is made of, the child says: " From stones"; "From straws", etc. These assessments relate to the visible properties of objects that appear to children from a purely external perspective. But children also have another view - let’s call it " human" . It is based on imagination and allows you to see objects from the inside, allows you to penetrate into them on an emotional and sensory level. For example, by examining adult swallows in the nest, one is convinced that the birds are communicating with their children: " The swallow fed her children in turn, she is a gentle mother" ; " The parents just said something to the kids" etc. Children seem to penetrate into the “hidden life” of swallows. This view reveals what the outstanding Swiss psychologist J. Piaget called child animism - the desire to endow the inanimate with a soul, emotions, feelings, etc. the child empathizes with the swallow as a creature equal in rights to all living things, including people, and himself. The “human” view can be correlated with what D.B. Elkonin called the “semantic field” in contrast to the “visible field”, which, according to our typology, corresponds to the “actual” view. The child, as it were, transfers to the chick the feeling that he himself would experience if he found himself in a similar situation. Interpretation of reality through imagination The "human" view is the interpretation of real phenomena through the imagination. It allows us to form a semantic “approach” to reality, within the framework of which future scientific knowledge will acquire a truly meaningful character. The teacher can show and develop a “human” view during special work, for example, on the topic “The Swallow Parents Have Arrived.” Educator.Why did swallows land on electrical wires and not immediately into the nest?Children. Answer A.They are a little tired and are resting there.The swallows fly to the nest, but then return to the wires.Answer B. They show the little ones how to fly. Indeed, real - not imaginary - swallow parents teach their chicks to fly in this way. Children's fantasy came into maximum contact with reality. However, the imagination is egocentric, animistic in nature. Under appropriate guidance, the “human” view in children can develop in the direction of expanding the creative potential of the imagination. Let's give another example. Educator.Parent swallows often flew in, sat on the edge of the nest, looked at the chicks and flew away again.Children. Answer A.Now the parents said something to the little ones.Educator.What did they say?Answer B. They asked, can you fly already? This is how the transition from a visible to an “invisible” situation occurs, as evidenced by version B. In the course of comprehending the picture of reality, the possibilities of the imagination expand. It becomes more and more mediated, less and less “tied” to the observed specific situation. This is the transformation of the “natural” imagination into a “cultural”, truly creative one. But this transformation does not happen spontaneously. It is provided by gentle pedagogical guidance. It is aimed primarily at supporting children's expressive actions. Expressive and effective feeling for an object is simultaneously expressed and experienced by the child himself. Deepening the Imagination through Expression In order to pedagogically organize such empathy, the teacher uses a palette of means: observations of real objects, conversations about what he saw, a bodily image of his own understanding and emotional assessment of what he observed, singing, drawing, listening to a fairy tale related to the experiences of children, free play. In addition to the last resort, the rest receive specification in a comprehensive lesson. The central elements from the point of view of the development of imagination are “conversation” and “bodily image”, although they are closely related to other elements. Here is an example of discussion and body image from this practice. Start classes. Children talk about the swallows they saw in the morning.Answer A. The child swallows reached for the edge of the nest (when their parents arrived).Answer B. When the mother swallow brought food, the children moved their wings.Educator.Imagine this is a nest. Show how baby swallows behaved when their parents appeared. Children begin to depict the body. They imitate different reactions of chicks: A. wants to jump out of the nest at all costs; V., demanding food, sings loudly. In this example, the physical image of the children represents a memory of what was seen. Consequently, its form is reproductive in nature. Words and bodily images that reproduce reality are necessary to create a picture of the situation. This provides the necessary material for In the future, the teacher creates conditions for an in-depth bodily image. An example from this practice. The game is unfolding.Child A.The role of the mother swallowChild V. The role of the baby swallowA. Depicts how a swallow flies to its baby, feeds it, and then says something to it.Educator. IN., Mom told you what? Remember.Child V. Mom told me, fly yourself.Next, the baby appears" dad" , whose role is taken by child S.Educator. Dad and mom, look what your kids are doing.Child C (in a gentle voice). Baby, fly to me. Then playing roles parents and children are distributed among other children. The chicks move their wings and try to fly to their swallow parents. Parents contribute to this, for example, supporting children with wings (hands) until they learn to fly. Body image allows children to make images of their imagination visible to others, to tell them about their emotions. Here children practically do not use external speech. They physically convey the feelings of swallows - children or parents, feelings that they were able to penetrate and empathize with (based on real experiences and listening to fairy tales). Thus, the imagination deepens and expands through bodily imagination. This image presents the main elements and characteristics of imagination in general: the unity of “fantasy and reality”, orientation to the position of another “person”, creative processing of memories, activation of (non-external) speech. Body image and dialogue in an imaginary situation For two or three days, the children were engaged in drawing, showing how a family of swallows flies over the sea to the southern island. This was represented by a bodily image simulating travel. The children depicted waves that suddenly grew and tried to overtake the travelers. At first, the family of swallows seemed to fly through the waves, but as the waves grew, they began to try to fly upward (the nature of the movements changed). The main task was not to convey the actual picture of the “pursuit,” but the emotional state that the swallows experienced during this process. In a conditional situation, it is the creative imagination that should manifest itself, and not a simple memory of what was seen. This does not mean a separation of imagination from reality. The depiction of emotions and their experience by the children themselves make the reproduction of reality more complete and adequate. But the most important thing is that a unique and diverse dialogue arises here. The dialogue between the “wave children” and the “swallow children” simultaneously evokes a dialogue between the children playing and the children watching. A special place is occupied by the dialogue between the teacher and the children. The first and second dialogues are almost non-linguistic, physical in nature. Moreover, from the point of view of emotional expression, physical dialogue in preschool age can be richer and more meaningful than linguistic dialogue. Moreover, speech cannot depict everything (the writer V. Nabokov spoke about the “charm of the unnamed world”). Firstly, bodily dialogue is possible only in an imaginary situation. The children really did not observe swallows over the sea, did not delve into their “relationship” with the waves. However, on an emotional level, this is exactly what needed to be imagined. The remarkable Russian psychologist V.V. Davydov, the founder of the theory of developmental education, said that the activity of a preschool child should be desirable and joyful (see footnote). It is important to emphasize: these are not external or “background” attributes (“accompaniment”), but key, essential features of children’s activity. Well-known provisions about the unity of affect and intellect (L.S. Vygotsky), the role of “smart” emotions and emotional anticipation (A.V. Zaporozhets) in the activities of preschool children serve as a concretization of this general understanding. Thus, only partial assistance, which develops into empathy, underlies the child’s familiarization with the basics of humanity and humanity. This is brilliantly demonstrated in the classic works of A.V. Zaporozhets. For example, while watching a play in kindergarten, younger preschoolers jump up from their seats, run onto the stage, and begin to “assist” and “empathize” with the characters. In a similar way, modern kids watch TV. The active-expressive form of experience is the original form of human emotion. She, like those who followed developed forms emotionality, internally connected with imagination. Secondly, bodily dialogue is necessarily accompanied by an attempt to take the position of another “person”. As shown in the works of V.V. Davydov, V.T. Kudryavtsev, this is the most important, fundamental characteristic of the human imagination. By becoming another “person”, expressing his imaginary thoughts and emotions, the child simultaneously expresses his thoughts and emotions. At the same time, children physically depict the internal meaning of the situation richer than verbally. Thirdly, the physical dialogue between playing children is closely related to other dialogues. As noted, a special dialogue begins not only between the players, but also between the playing children and the child spectators (and adults). If the bodily movements of children actually depict the thoughts and emotions of another “person” in an imaginary situation, the audience not only carefully observes what is happening, but also sympathizes with the characters and the players themselves, without separating the former from the latter, penetrate into the states they experience, and become infected with their emotional energy. When such “sympathy” arises in the audience, the players, in turn, receive emotional support from the child spectators. Only the educator takes his specific place in this situation. He is verbally involved in an imaginary situation. The role of the teacher is to verbally recreate the picture, capture fairy-tale images, express the emotional state of the characters in words, and activate the joint imagination of children. Thus, the physical dialogue between the players creates the basis for other dialogues, more precisely, polylogues, which enriches the possibilities of both joint and individual imagination. Children easily succumb to their emotions, and are often even encouraged to do so. While for adults one of the main components of existence is work, children express themselves through play. As a result, the child expresses his feelings and emotions much more freely than adults. Imagination determines the impact of these feelings and emotions on their thoughts and behavior, it enriches the child's life. Endowing things and objects with magical and fantastic properties, he becomes so interested in them that he learns a lot of useful things about the world around him. In a word, with the help of imagination, the baby develops his abilities with interest, learns and gains a sense of his own importance. Fantasies provide him with a joyful opportunity to express himself creatively. Imagination is harmless and often beneficial for a child. If a child has a wild, cheerful, free imagination, this is a sign of health. 2. Practical part2.1 Who has more imagination?: in an adult or child

Why do preschoolers need to develop their imagination? It is already much brighter and more original than the imagination of an adult. Many people think so.

This is not entirely true. Psychologists' studies show that a child's imagination develops gradually as he accumulates certain experience. All images of the imagination, no matter how bizarre they may be, are based on the ideas and impressions that we receive in real life. In other words, the greater and more varied our experience, the greater the potential of our imagination.

That is why a child’s imagination is in no way richer, but in many respects poorer than the imagination of an adult. He has more limited life experience and, therefore, less material for fantasy. The combinations of images he builds are also less varied. It’s just that sometimes a child explains in his own way what he encounters in life, and these explanations sometimes seem unexpected and original to us, adults. At the same time, imagination plays a more important role in a child’s life. important role than in the life of an adult. It manifests itself much more often and is much easier to break away from reality. With its help, children learn about the world around them and themselves.

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

Imagination can creatively transform reality; its images are flexible, mobile, and their combinations allow us to produce new and unexpected results. In this regard, the development of this mental function is also the basis for improving the child’s creative abilities. Unlike the creative imagination of an adult, the imagination of a child does not participate in the creation of social products of labor. She participates in creativity “for herself”; no requirements for feasibility and productivity are imposed on her. At the same time, it is of great importance for the development of the very actions of imagination, preparation for upcoming creativity in the future.

1. Use object substitutes. External support plays an important role in the development of a child’s imagination. If at the early stages of development (at 3--4 years old) the imagination of a preschooler is inseparable from real actions with game material and is determined by the nature of the toys, the similarity of substitute objects with the replaced objects, then in children 6--7 years old there is no longer such a close dependence of play on game material. Their imagination can also rely on objects that are not at all similar to those being replaced. For example, a child can ride on a stick, imagining himself as a rider and the stick as a horse. Gradually the need for external supports will disappear. Interiorization will occur - a transition to playful action with an object that does not actually exist, to the representation of actions with it in the mind. However, to do this, you must first teach the child to easily operate with various substitute objects. Such substitutes can be other objects, geometric figures, signs, etc.

2. Carry out “objectification” of an indefinite object.

Children begin to use the “objectification” method at the age of 3-4 years. It consists in the fact that a child can discern a certain object in an unfinished figure. So, in the task of completing the drawing of an indefinite image, he can, for example, turn a circle into a wheel for a car or into a ball, a triangle into the roof of a house or into a sail for a boat, etc. By the age of 6-7 years, the child should already be relatively be fluent in this method, and also learn to add various details to the “objectified” drawing.

3. Create images based on a verbal description or an incomplete graphic image.

This ability is very important for the child’s upcoming educational activities. The need to create images based on verbal descriptions and graphic images arises when reading a book (figurative representation of the described situations, characters), when realizing the meaning of new words (figurative representation of objects and phenomena that these words mean), when recognizing objects when the field of their perception is limited (a figurative representation of an object, when it is not completely visible, but only some part of it is visible) and in some other situations. Moreover, the better a child’s ability to create such images is developed, the more accurate and stable ideas he develops. To develop this ability, you can use tasks in which the child must:

a) create an image of an object based on its verbal description;

b) recreate a complete image of a picture based on the perception of one or more of its parts.

4. Operate in your mind with images of simple multidimensional objects (spatial imagination).

All objects in the world around us exist in space. And the images of the imagination, to be adequate, must reflect the spatial characteristics of these objects. In this regard, it is very important to develop in a child the ability to “see” the image of an object, taking into account its spatial location. To train this ability, children of six years old can be offered two types of games:

a) to mentally transform an object in space,

b) to represent the relative position of several objects in space.

5. Subordinate your imagination to a specific plan, create and consistently implement a plan for this plan.

Only consistent implementation of the plan can lead to the fulfillment of the plan. The inability to manage your ideas and subordinate them to your goal leads to the fact that the most interesting plans and intentions of the child often do not achieve their implementation. At this age, the child already has the necessary prerequisites for learning to act according to a pre-thought-out plan. Therefore, it is very important to develop this ability, to teach a child not just to fantasize aimlessly and fragmentarily, but to realize his plans, to create, albeit small and simple, but complete works (drawings, stories, designs, etc.).

Teaching this skill should include the following steps:

I -- stage of demonstrating the plan: an adult shows how to draw up a plan (diagram) of the finished product (design);

II - stage of independent “reading” of the plan: the child learns to “read” the plan (diagram) you have drawn up and create his own work based on it;

III - stage of independent drawing up of a plan: the child himself draws up a plan (scheme) of his own work.

Cognitive processes were examined in more detail, but we cannot fail to mention other skills that, to one degree or another, must be developed in a child before school.

2.2

Target: Test to determine the level of development of a child. How to Study Creativity

CREATIVE IMAGINATION

Prepare some geometric shapes different color and cardboard forms. The shapes should be simple and complex, regular and irregular in shape (circle, triangle, asterisk, rectangle, oval, etc.). They can also vary in size. Offer your child the following task: you will read him a fairy tale, and let the child select its characters from the proposed geometric shapes.

Each figure is a specific symbol. Will your preschooler be able to complete your assignment? How does he perceive it: with interest or bewilderment?

Maybe he doesn’t perceive it at all, saying that the figures don’t look at all like the heroes of a fairy tale?

Attitude to the task - first indicator development of creative imagination.

Is the child capable of creative exploration? Does it deviate from the pattern? Is there really a similarity between a fairy-tale character and the chosen one?

geometric figure?

The ability to explain your choice, to somehow argue for the similarity of the figure and the hero of the fairy tale - second indicator development of creative imagination.

Third indicator- the child’s desire to continue the game, to illustrate new stories.

Creative imagination presupposes the independence of a preschooler’s thinking, ingenuity, the ability to quickly navigate a problem situation, the brightness and unexpectedness of emerging images and associations. Without creative imagination, it would be impossible to develop a child's creative abilities. (2; p.23-24)

2.3 Solving imaginative problems

Preparation of the study. Select album sheets for each child with figures drawn on them: outline images of parts of objects, for example, a trunk with one branch, a circle - a head with two ears, etc., and simple geometric figures (circle, square, triangle, etc. .). Prepare colored pencils and markers.

Conducting research. A child of 7-8 years old is asked to complete each of the figures so that some kind of picture is obtained. First, you can have an introductory conversation about the ability to fantasize (remember what clouds look like in the sky, etc.).

Data processing. They reveal the degree of originality and unusualness of the image. Set the type of problem solving using imagination.

Null type. It is characterized by the fact that the child does not yet accept the task of constructing an imaginary image using this element. He does not finish drawing it, but draws something of his own next to it (free imagination).

First type. The child completes the drawing of the figure on the card so that an image of a separate object (a tree) is obtained, but the image is contoured, schematic, and devoid of details.

Second type. A separate object is also depicted, but with various details.

Third type. By depicting a separate object, the child already includes it in some imaginary plot (not just a girl, but a girl doing exercises).

Fourth type. The child depicts several objects based on an imaginary plot (a girl walking with a dog).

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

Developmental stage

This stage includes work on developing imagination and is designed to connect the child’s creative potential.

Types of work.

A magazine of tall tales in faces.

The event is held in the form of a competition. The class is divided into two teams. Each team is the editorial office of the magazine. Each member of the editorial board has his own serial number. The presenter begins the tale:

Once upon a time there lived a little Vintik. When it was born, it was very beautiful, shiny, with brand new carvings and eight sides. Everyone said that a great future awaited him. He, along with some of the cogs, will take part in the flight on the spaceship. ANDHere, finally,the day came when Vintik found himself on board a huge spaceship...

At the most interesting point, the presenter stops with the words: “To be continued in the magazine “.....” in the issue.....” The child who has this issue in his hands must pick up the thread of the plot and continue the story. The presenter carefully follows the story and interrupts at the right place. The child must say: “To be continued in the magazine “.....” in the issue.....” The presenter can interrupt the fairy tale with the words: “Ends in the magazine “.......” in the issue.” ......"

As a result of children's creativity, the main character visited many planets and met aliens...

In general, this type of activity showed that it is still difficult for children to engage in free imagination. They do a better job using ready-made templates.

What does it look like?

The development of imagination plays a big role in the creative education of a child’s personality. It is necessary to include as much as possible in practice activities aimed at activating imagination processes. I want to suggest next job in this direction.

This event is held in the form of a game. Up to 30 children can participate in it; it is better for the teacher or educator to take on the role of the leader. Children, with the help of a leader, select 2-3 people who should be isolated from the general group for a few minutes. At this time, everyone else thinks of a word, preferably an object. Then the isolated guys are invited. Their task is to guess what was asked using the question: “What does it look like?” For example, if the word “bow” is guessed, then to the question: “What does it look like?” The following answers may come from the audience: “On the propeller of the plane,” etc. As soon as the drivers guess what was planned, the presenter changes them, and the game is repeated again.

This type of work allows children to develop imaginative thinking and promotes the activation of teamwork skills.

Photo moment.

This form of group activity is also aimed at developing imagination. However, its effectiveness is lower than the effectiveness of the activities described above. First of all, because the object active development Only the driver acts here.

I will describe the methodology for conducting the event. After having a brief conversation on the topic “What is a photo moment” and explaining the meaning of this word, the teacher introduces the child to the world of photography: people always want to leave something as a souvenir of certain events, often this is a photograph. Photographs can be different: funny and sad, small and large, color and black and white, and there are photographs where people insert their faces into a small window cut out in a picture of animals, famous people, etc.

Then the children choose one driver who inserts his face into such a picture, not knowing what is drawn on it. His task is to guess who he is portraying by asking questions like:

Am I a plant?

I can fly?

Am I the object in this room? etc.

All the other guys can answer his questions only with the words: “Yes; no.”

2.4 Tests for studying the development of imagination

Test:" Verbal (verbal) fantasy"

Invite your child to come up with a story (story, fairy tale) about any living creature (person, animal) or something else of his choice and present it orally within 5 minutes. Up to one minute is allotted to come up with a theme or plot for a story (story, fairy tale), and after that the child begins the story.

During the story, the child’s imagination is assessed according to the following indicators:

1. Quick imagination.

2. Unusuality, originality of imagination.

3. Richness of imagination, depth and detail of images.

4. Emotionality of images.

The speed of imagination is rated highly if the child came up with the plot of the story in the allotted time on his own.

If within one minute the child has not come up with a plot for the story, then tell him some plot.

The unusualness and originality of imaginative images are highly assessed if the child came up with something that he could not see or hear anywhere before, or retold what was known, but at the same time introduced something new and original into it.

The richness, depth and detail of fantasy are assessed by a sufficiently large number of different living beings, objects, situations and actions, various characteristics and signs attributed to all this in the child’s story, by the presence of various details and characteristics of images in the story.

If a child uses more than 7 such signs in his story, and the object of the story is not depicted schematically, then his wealth of imagination is well developed.

The emotionality of imaginary images is assessed by how vividly and passionately the invented events, characters, and their actions are described.

Test:" Nonverbal fantasy"

Offer your child a drawing with different unfinished images and ask him to draw something interesting using these images (Fig. 41).

When your child draws, ask him to talk about what he drew.

Result:

Stereotypical thinking, copying from others, low level of imagination.

Testing of a child is necessary, at a minimum, for the following purposes:

Firstly, to determine how well his level of development corresponds to the norms that are typical for children of this age.

Secondly, diagnostics are needed in order to find out the individual characteristics of the development of abilities. Some of them may be well developed, and some not so much. The presence of certain underdeveloped intellectual abilities in a child can cause serious difficulties in the process of subsequent schooling. With the help of tests, these “weak points” can be identified in advance, and appropriate adjustments can be made to intellectual training

Thirdly, tests can be useful in order to evaluate the effectiveness of the tools and methods that you use to mental development child.

And finally, fourthly, children need to be introduced to various tests so that they are thus prepared for the testing tests that will await them both when entering school and at various stages of education in the future. Familiarity with typical test items will help them avoid unnecessary stress during such tests. emotional stress, or confusion, called the "surprise effect", feel more confident and comfortable. Knowledge of these tests will allow them to equalize the chances with those who, for one reason or another, already have experience in testing.

According to psychoanalysts, one of the main functions of the imagination is to protect the individual, to compensate for negative experiences that are generated by preconscious processes and record social conflicts personality. In this regard, the effects of creative imagination-behavior are nothing more than the elimination of oppressive emotions (no matter what their sign) that arise in conflict until a level tolerable for the individual is reached. Therefore, it is not difficult to explain acts of creative activity, including children’s, in the types of productive activity available to them: drawing, modeling, and, less often, designing.

In general, one should talk about imagination as a mental process only if there is a functioning, full-fledged consciousness. Therefore, it can be argued that a child’s imagination begins its development at the age of three.

200 Averin V.A. _______

Affective imagination arises in situations of contradiction between the image of reality existing in the child’s mind and the reflected reality itself.” The inability to resolve it leads to an increase in internal tension and, as a consequence, the emergence of anxiety and fear. Evidence of this is quite big number fears in children 3 years of age 2. At the same time, it should be noted that children resolve many of the contradictions on their own. And the affective imagination helps them with this. Thus, it can be argued that its main function is -protective, helping the child overcome the contradictions that arise. In addition, it also performs regulating function during the child’s acquisition of behavioral norms.

Along with it stands out educational imagination, which, like the affective one, helps the child overcome emerging contradictions, and, in addition, complete and clarify a holistic picture of the world. With its help, children master patterns and meanings, build holistic images of events and phenomena 3 .

Stages of imagination development.

Start first stage in the development of imagination is attributed to 2.5 years. At this age, imagination is divided into affective and cognitive. This duality of imagination is associated with two psychological new formations of early childhood, firstly, let us highlight the personal “I” and, in connection with this, the child’s experience of his separation from the world around him, and, secondly, with the emergence visually effective thinking. First

" Dyachenko O.M. On the main directions of development of imagination / Questions of psychology, 1988, No. 6. 2 Zakharov A.I. In K. op. ^ Dyachenko O. M. Uk. op.

Chapter 4. 201

of these new formations forms the basis for the development of affective imagination, and the other - cognitive. By the way, the psychological intensity of these two determinants determines the role and significance of affective and cognitive imagination. The weaker the child’s “I”, his consciousness, the less adequately he perceives the surrounding reality, the more acute the contradictions that arise between the emerging image of reality and the reflected reality itself. On the other hand, the less developed a child’s objective thinking is, the more difficult it is for him to clarify and complete the real picture of the world around him.

Speaking about the psychological determinants of the development of imagination, we should also mention speech. Developed speech is a favorable factor in the development of imagination. It allows the child to better imagine an object that he has not seen, to operate with this image, i.e. think. Developed speech frees the child from the power of immediate impressions, allows him to go beyond their limits, and, therefore, build more adequate (consistent) images of the surrounding reality. It is no coincidence that delays in the development of speech also provoke delays in the development of imagination. An example of this is the poor, essentially rudimentary imagination of deaf children.

The development of cognitive imagination is carried out by a child in playing with toys, when familiar adult actions are not enacted and possible options for these actions (feeding children, walking with them, putting them to bed and other similar games).

The development of affective imagination is carried out through the child's replaying of experiences. They are mainly associated with experiences of fear. And if parents organize such games at home, they help eliminate fear. For example, a three-year-old boy asks to act out the fairy tale “The Three Little Pigs,” where the most significant

202 Averin V.A. Psychology of children and adolescents _______

and the moments he acts out are the scenes of the wolf appearing and running away from it. A wolf appears three times and three times our baby runs away from him squealing and screaming, hiding either in another room or behind a chair. And parents do the right thing if they help their child in this game.

Another example illustrates the parents’ lack of understanding of the psychological essence of what is happening. When asked whether their three-year-old daughter suffers from an excessive sense of fear, they unanimously answer that their girl, on the contrary, is very brave and is not afraid of anything. Proof of this, in their opinion, is that the girl constantly plays Baba Yaga and the Wolf. In fact, a child in a situation of affective imagination protects his “I” from experiences, acting out his fear in such a situation. Another example about the psychoprotective function of imagination in preschool age. Three-year-old Igor, walking with his mother, saw a large black cat and hid in fear behind his mother’s back. “I’m not afraid of the cat, I just give her way, because she’s very pretty,” is how he explains his action. And it’s a shame if the mother starts blaming or reproaching the baby for cowardice. After all, Igorek, in fact, models an imaginary situation and acts out his own fear.

In situations where a child has experienced a strong emotional experience or impression, it is important to play out similar situations with him at home so that the child can act out his experiences. There are other possibilities for this. If, for example, a child already draws or sculpts, he can do this in drawing or sculpting.

The mechanism of constructing imagination presupposes the presence of two sequential elements: generating an image of an idea And drawing up a plan for its implementation. At the first stage of imagination development, only the first of them is present - the image of an idea, which is built through objectification, when the child makes his own separate and incomplete impressions.

Chapter 4. Psychology of child development... 203

development from reality is completed with the help of imagination into some objective whole. Therefore, the square can easily turn into a house or a doghouse. There is no planning of an imaginary action, as well as its products, at this stage of imagination development. It’s easy to verify this if you ask a 3-4 year old child to talk about what he is going to draw or sculpt. He won't answer your question. The fact is that the imagination creates the idea itself, which is then objectified in the image. Therefore, the child first appears with a drawing, image, figure, and then its designation (remember the description of the appearance of the drawing given in the previous paragraph). Moreover, any suggestions to the child to draw up a plan in advance and then act on it led to the destruction of the activity and abandonment of it.

Second phase begins in the development of imagination at 4-5 years old. There is an active assimilation of norms, rules and patterns of behavior, which naturally strengthens the child’s “I” and makes his behavior more conscious in comparison with the previous period. Perhaps this circumstance is the reason for the decline in creative imagination. How do affective and cognitive imaginations relate?

Affective imagination. At this age, the frequency of occurrence of persistent fears decreases (since with the development of consciousness, the effects of distorted perception of the surrounding reality decrease). Usually affective imagination healthy child arises in connection with the experience of real trauma. For example, a five-year-old child, after undergoing surgery, operated on his bear cub friend for a month, reenacting the most traumatic elements of the operation: anesthesia, removal of stitches, etc. Stable internal conflicts manifest themselves in the construction of substitute situations: for example, a child comes up with a story about a bad boy who commits pranks instead of him and the like.

204 Averin V. A. Psychology of children and adolescents _______

Cognitive imagination at this age is closely related to the development of role-playing and productive activities - drawing, modeling, designing.

At this age, the child still follows the image (the image “guides” the child’s actions) and therefore he mainly reproduces the patterns of behavior of adults and peers known to him in roles, drawings, etc. But since the child already speaks well, he begins to develop elements of planning. The child plans one step of action, then takes it, carries it out, sees the result, then plans the next step, etc. From four to five years of age, children move to step planning. For example, before drawing something, the child says: “Here I’ll draw a house” (draws it), “and now a pipe” (draws it), “window” (draws it), etc. The possibility of step planning brings children to directed verbal creativity, when they compose fairy tales, as if stringing one event onto another.

Third stage in the development of imagination begins in 6-7 years. At this age, the child masters basic patterns of behavior and gains freedom to operate with them. He can deviate from standards, combine them, using these standards in constructing products of the imagination.

Within this stage affective imagination is aimed at eliminating the resulting psycho-traumatic effects by repeatedly varying them in play, drawing and other types of productive, creative activities. In case of persistent conflicts with reality, children turn to a substitute imagination.

At this age, the child’s creativity is projective in nature, which symbolizes stable experiences. For example, a boy brought up in conditions of hyperprotection, when completing a task, draws the Snake of the Mountain with spikes on his head. When asked why he needs these thorns, he replies that Zmey Gorynych purposely made them

Chapter 4. Psychology of child development... 205

He grew it so that no one could sit on his head. Thus, we see that creative activities can also act as ways to compensate for traumatic experiences.

Cognitive imagination at this stage undergoes qualitative changes. Children six years, in their works they not only convey processed impressions, but also begin to purposefully look for techniques for conveying them. For example, when finishing drawing unfinished images, a square can easily turn into a brick that rises crane. An important point in development is that it first appears holistic planning, when a child first builds an action plan and then consistently implements it, adjusting it along the way. If at this age a child is asked what he is going to draw, he will answer something like this: “I will draw a house, a garden next to it, and a girl walks around and waters the flowers.” Or: “I’ll draw the New Year. The Christmas tree is standing, next to Father Frost and the Snow Maiden, and under the tree there is a bag of gifts.”

0-M. Dyachenko notes that the described three stages of imagination development represent the possibilities of each age. IN natural conditions, without guidance from adults, everything mentioned above is realized by only a fifth of children of each age. Parents, doctors and teachers need to know about this.”

And one more note. It must be remembered that affective imagination without sufficient recovery from trauma can lead to pathological stagnant experiences or to the child’s autism, to the creation of a life that replaces the imagination.

In turn, cognitive imagination tends to gradually fade away. Talking about meaning

Dyachenko O.M. Uk. op.

206 Averin V.A. Psychology of children and adolescents _______

imagination, one should point out the advanced nature of its development in comparison with thinking. This means that thinking develops on the basis of imagination. Thus, it is simply impossible to overestimate the importance of imagination in the mental development of a child as a whole.

imagination thinking memory preschool

Introduction

1. Theoretical aspects study of imagination

1.1 The concept of imagination, its types, functions, mechanisms, physiological basis

1.2 Stages of imagination development in ontogenesis

2. Practical aspects of studying imagination in preschool children

2.1 Description of diagnostic methods for studying the level of imagination development in preschool children

2.2 Exercises and games to develop imagination in preschool children

Conclusion

Bibliography

Introduction

Imagination is a special form of the human psyche; it stands apart from other mental processes and at the same time occupies an intermediate position between perception, thinking and memory. Imagination is characteristic only of man. Thanks to imagination, a person creates, intelligently plans and manages his activities. Its material and spiritual culture is a product of people's imagination and creativity. Imagination takes a person beyond his immediate existence, reminds him of the past, and opens up the future. Possessing a rich imagination, a person can “live” in different times, which no other living creature in the world can afford.

Imagination is always directed towards the practical activities of man. Before doing anything, he imagines what needs to be done and how he will do it. Thus, a person already creates in advance an image of a material thing that will be manufactured in subsequent practical activities. This ability of a person to imagine in advance the final result of his work, as well as the process of creating a material thing, sharply distinguishes human activity from the “activity” of animals.

DI. Pisarev wrote: “If a person were completely deprived of the ability to dream, if he could not occasionally run ahead and contemplate with his imagination in complete and complete beauty the very creation that is just beginning to take shape under his hands, then I absolutely cannot imagine what incentive would force a person to undertake and complete extensive and tedious work in the field of art, science and practical life.”

Everyday activity poses a lot of challenges to a person. There is not always the necessary knowledge to solve them. Imagination fills this gap: it combines, creates a new combination of existing information. Imagination significantly expands and deepens the process of cognition. It plays a huge role in transforming the objective world. Before changing something practically, a person changes it mentally. Thus, the relevance of the topic lies in the fact that the study of imagination and its role in human life allows us to understand the mechanisms of the emergence of new images. Confirms that imagination contributes to progress in any type of human activity.

Purpose of the study: study of imagination as a mental cognitive process.

Object of study: imagination as a mental cognitive process.

Subject of study: psychological features of imagination development.

Based on the purpose of the study, we determine the following tasks :

1) study psychological literature on the problem of imagination;

2) characterize the types, functions, mechanisms of imagination, stages of its development;

3) select psychological methods for diagnosing the level of imagination development (using the example of preschool age);

4) describe exercises and games for developing the imagination of preschool children.

Theoretical basis works were compiled by: O.V. Borovik “Development of Imagination”, Yu.A. Poluyanova “Imagination and abilities”, V.A. Skorobogatova and L.I. Konovalova “The Phenomenon of Imagination”, L.Yu. Subbotina "Children's fantasies: Development of children's imagination."

To solve the problems, the following research methods were used: studying the literature on this topic, studying and analyzing methods used to determine the level of imagination development.

1. Theoretical aspects of the study of imagination

1.1 The concept of imagination, its types, functions, mechanisms, physiological basis

As a subject of action, a person not only contemplates and cognizes, but also changes the world, transforms nature, and creates objects that do not exist in it. But a person would not be able to do all this if he did not clearly imagine the result of his actions. To transform the world in practice, one must be able to transform it mentally in imagination.

First, a person carefully becomes familiar with the image of the thing that needs to be made, builds a mental image of it, and then reproduces it when creating a similar thing. But when a completely new thing is made, there is no such sample. Then a new image of her is mentally created independently. This ability to build new images is called imagination [16, p. 187].

The process of imagination is manifested in the creation by a person of something new - thoughts and images, on the basis of which new actions and objects arise. This is the creation of something that has not yet actually existed.

The images with which a person operates include not only previously perceived objects and phenomena. These can be events, facts, phenomena that a person was not and could not be a witness to. Images of the imagination can contain the future, the desired, possible events and phenomena. And at the same time, something new, created in the imagination, is always connected with what really exists. Images of the imagination are based on representations of memory, but they undergo transformation in the imagination. According to R.S. Nemova Imagination is the ability to imagine an absent or really non-existent object, hold it in consciousness and mentally manipulate it [14, p. 260].

Imagination is connected with all aspects of human life: memory, perception, thinking. Thus, the perception of works of art becomes more meaningful and emotional when imagination is involved in it. L.S. Vygotsky said: “The creative activity of the imagination is directly dependent on the richness and diversity of previous experience man, because experience represents the material from which fantasy structures are created. The richer a person’s experience, the more material his imagination has at his disposal”[ 6, p. 134]. The connection between imagination and thinking clearly appears in a problem situation. When faced with the unknown, a person begins to analyze, synthesize, correlate what is perceived with past experience, and tries to penetrate into the essence of the relevant facts and phenomena. In this he is helped not only by thinking and memory, but also by imagination, because it recreates a complete image and fills in the missing elements. The process of imagination is peculiar only to man and is a necessary condition for his work activity.

Types of imagination differ in the degree of activity and awareness of a person’s creation of new images. Depending on this, a distinction is made between involuntary (passive) and voluntary (active) imagination (Fig. 1) [25, p. 285]. At involuntary imagination new images arise under the influence of little-recognized needs, drives, and attitudes. Such imagination works when a person is sleeping, in a drowsy state, in dreams, etc.

Fig. 1 Types of imagination

Voluntary imagination is a process of deliberately constructing images in connection with a set goal in a particular activity. Voluntary (active) imagination arises at an early age and is most developed in children's games. In a role-playing game, children take on different roles; it is during the game that the active work of the imagination is required, since it is necessary to correctly structure their behavior in accordance with the role they have assumed. In addition, you need to imagine the missing items and the plot of the game itself.

Voluntary imagination is divided into recreative and creative. Recreation is characterized by the fact that in its process, subjectively new images are created, new for a given individual, but objectively they already exist, embodied in certain cultural objects. The essence of the recreating imagination is that a person reproduces, reproduces what he himself did not perceive, but what other people tell him with the help of speech, drawings, diagrams, signs, etc.

Here there must be a connection between images and symbols, signals, symbols, and signs must be deciphered.

Thus, recreating imagination is the creation of a new image based on verbal description, perception of images in the form of pictures, diagrams, maps, drawings, mental and material models.

Recreative imagination plays an important role in human life. It allows people to exchange experiences, it helps each person to master the experiences and achievements of other people.

Creative imagination is the independent creation of new images that are realized in original products of activity. This is the production of an original image without relying on a ready-made description or conventional image. This type of imagination plays an important role in all types of creative activity of people.

A special form of imagination is a dream. A dream is always aimed at the future, at the prospects of a person’s life. The images that a person creates in his dreams are distinguished by their bright, lively, concrete character and emotional richness. However, a dream is useful only when it daily connects the desired future with the present; if this is not the case, then from a stimulus for action the dream can turn into a substitute for action and degenerate into a fantasy.

The neurophysiological basis of imagination is the formation of temporary nervous connections in the sphere of the first and second signaling systems, their dissociation (breakdown into separate elements) and unification into new systems under the influence of various motivations. Imagination is associated with emotions, the activity of subcortical formations of the brain, but research recent years confirm that the physiological mechanisms of imagination are located not only in the cortex, but also in deeper parts of the brain - the hypothalamolimbic system [12, p. 178].

The basis of imagination is always perception, which represents the material from which something new will be built. Then comes the process of processing this material - combining and recombining. The components of this process are analysis and synthesis of what is perceived.

All further activity of the imagination is carried out using the following mechanisms: agglutination, emphasis, hyperbolization, schematization, typification, reconstruction. Let's look at each in more detail.

Agglutination is the merging of individual elements or parts of several objects into one bizarre image.

Emphasis - highlighting and emphasizing certain features of objects, as a result of which one part becomes dominant. Hyperbolization is an exaggeration or understatement of an object or its individual parts.

Reconstruction is the creation of a whole image from parts of an object.

Schematization is smoothing out the differences between objects and highlighting the similarities between them.

Typification is the selection of features of different objects in one image.

The human imagination is multifunctional. Among its most important are 1) gnostic-heuristic - allows the imagination to find and express in images the most significant, significant aspects of reality;

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

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

4) prognostic – lies in the fact that the product of imagination is the goal towards which the subject strives.

R.S. Nemov noted that imagination includes the intellectual, emotional, behavioral experience of the subject and is included in various types of his activities [15, p. functions are distinguished: 107 ].

1.2 Stages of imagination development in ontogenesis

The ability to imagine is not given at birth. Imagination develops with the accumulation of practical experience, acquisition of knowledge, improvement of all mental functions. In modern psychology

exists a large number of research devoted to the development of imagination in ontogenesis. The main subject of study was age periods development and the types of activities in which it developed. There are the following stages of imagination development:

The first stage (from 0 to 3 years) - the prerequisites for imagination are ideas that appear in the second year of life. A child aged about one and a half years recognizes what is shown in the picture. Imagination helps to perceive a pictorial sign. It completes what does not quite correspond to the idea in memory. When recognizing, the child does not create anything new. Therefore, imagination acts as a passive process. It exists within other mental processes; its foundation is laid in them. The first manifestations of imagination are evidenced by the child’s ability to act in an imaginary situation with imaginary objects. The first imitative games that appear in the second year of life do not yet contain elements of imagination. One of the reasons for the emergence of imagination is the psychological distance between a child and an adult, a child and the object of his desire. The child perceives the basic actions of an adult, but reflects them in a generalized and conditional manner, conveying only their meaning and external design [10, p.75].

The development of the initial forms of imagination in a young child is associated with the generalization of play actions and play objects, as well as

with the fact that the repertoire of game actions firmly includes substitutions.

According to V.A. Skorobogatov and L.I. Konovalova’s baby does not immediately respond to the substitution offered by the adult, but plays only with real toys. The turning point occurs when the child refuses to use any substitution offered by adults. The most important factor, which provides the possibility of transferring meaning to other objects, is the appearance of speech forms. Mastering speech leads to the first independent substitutions appearing in play. Folds up new way actions with substitute objects - full use of substitutions. Selecting Items

substitutes becomes conscious and is accompanied by detailed statements. Thus, creative elements arise in the play activities of young children. Against the backdrop of interest in a new type of activity, the child quickly begins to deviate from the patterns of action set by adults and introduces his own nuances into them. But imagination is reproductive in nature.

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

Affective imagination appears, associated with the child’s awareness of his “I” and separation of himself from other people. Imagination is already becoming an independent process[ 1, p. 67].

The third stage (from 4 to 5 years) - at this age, creative manifestations in activities increase, primarily in play, manual labor, storytelling and retelling. Dreams about the future appear. They are situational, often unstable, caused by events that caused an emotional response in the child. Imagination turns into a special intellectual activity aimed at transforming the surrounding world. The basis for creating an image is not only the real one.

object, but also ideas expressed in words. Imagination remains largely involuntary. The child does not yet know how to direct the activity of the imagination, but he can already imagine the state of another person. The reconstructed images are differentiated, meaningful and emotional.

The fourth stage (from 6 to 7 years old) - at this age the imagination is active. External support suggests a plan, and the child arbitrarily plans its implementation and selects the necessary means. There is an increase in the productivity of imagination, this is manifested in the development of the ability to create a plan and plan its achievement. Recreated images appear in various situations, characterized by content and specificity. The child develops the ability to act figuratively, an internalized imagination arises, that is, it moves to the internal plane, the need for visual support for creating images disappears. Elements of creativity appear. At preschool age, the child develops a special internal position, and imagination already becomes an independent process. Taking into account the fact that imagination develops in different types of activities, the most productive in childhood are playing and drawing.

The fifth stage (from 7 to 11 years) is a qualitatively new stage in the development of imagination in children. This is facilitated by a significant expansion of the volume of knowledge that a student receives in the learning process, the systematic mastery of various skills and abilities that enrich and at the same time clarify, concretize the images of the imagination, and determine their productivity. “Children of primary school age are not without imagination, which is at odds with reality. Which is even more typical for middle school students (cases of children’s lies, etc.).”

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

“At primary school age, verbal and mental imagination begins to develop, which constitutes, as it were, a new stage in the development of imagination. With developing verbal-mental imagination, reliance on an object and even an action, if it takes place, is secondary, tertiary.”

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

The stages of development of imagination as an indirect function described here represent only the possibilities of each age, which are realized in natural conditions by a minority of children. Without specific guidance, the development of imagination may have an unfavorable prognosis. Affective imagination without sufficient, usually spontaneously emerging, recovery from trauma can lead to pathological experiences (obsessive fears, anxiety) or lead the child to complete autism, to the creation of a substitute imaginary life, rather than real creative products. The culture of emotional life (the ability to empathize, sympathize), as well as the mastery of various other elements of culture, are only necessary conditions full development of human imagination.

Conclusion: thus, imagination is a special form of the human psyche, thanks to which a person creates, intelligently plans his activities and manages them. Imagination is a complex mental process that has several types:

2) recreative and creative;

3) dreams and fantasies.

Initial forms of imagination first appear at an early age

in connection with the emergence of plot-role-playing games and the development of the sign-symbolic function of consciousness. Further development of imagination occurs in three directions. Firstly, in terms of expanding the range of replaced items and improving the replacement operation itself. Secondly, in terms of improving the operations of the recreating imagination. Thirdly, creative imagination develops. The development of imagination is influenced by all types of activities, and especially drawing, playing, designing, and reading fiction.

Imagination performs the most important functions:

1) gnostic-heuristic;

2) protective;

3) communicative;

4) prognostic.

The activity of imagination is carried out using the following mechanisms: combination, emphasis, agglutination, hyperbolization, schematization, typification, reconstruction.

2 Practical aspects of studying imagination in preschool children

2.1 Description of diagnostic methods for studying the level of imagination development in preschool children

Quite a lot of methods and techniques have been developed to study imagination in psychology. So, for example, to study imagination in preschool children, the following diagnostic techniques are used: “Incomplete figures”, “Drawing”, “Sculpture”, “Ridiculous pictures”, “Filling in missing details in the image”, etc.

To assess the development of imagination in primary school and adolescence, diagnostic techniques are used: “Torrance circles”, “Two lines”, “Come up with a story”, “Unfinished drawing”, etc.

Since in preschool age the imagination is active, the productivity of the imagination increases, and elements of creativity appear, it is necessary to select a number of diagnostic methods to assess the development of imagination in preschool children. Let's look at some of them:

Method No. 1 “Incomplete figures” E.P. Torrence [19, p. 93].

Goal: to identify the level of development of creative imagination.

Age: suggested for children 5-7 years old.

Stimulus material: images of geometric figures on separate sheets of paper, colored pencils (see appendix 1).

Procedure: The subject is given the following instructions: “Today we will draw interesting pictures from familiar geometric shapes.

Look at your sheet, using this figure, draw a picture.” The child is offered one of the geometric figures depicted on a blank sheet of paper (in the center) and colored pencils. 10-12 minutes are allotted to complete the task. Then the work is taken away and the following figures are offered one by one.

After completing the drawing of the figures, they give a task in which you need to complete the drawing of an element of the object.

Progress:

The subject is given the instruction: “Look at this sheet. A part of some object is drawn here. Finish it so that you get a picture.”

The child is given a sheet of paper with a picture of an element of the object and colored pencils. 10-12 minutes are allotted for work.

Works are assessed in points:

0 points - task not completed;

1 point - completes the drawing of the figure (element), but with different details;

2 points - depicts a separate object, but with different details;

3 points - depicts an object included in some imaginary episode, a “field of things” appears around the object;

4 points - depicts several objects according to an imaginary plot;

5 points - depicts the proposed figure (element) as a minor detail of the image in some imaginary plot.

Method No. 2 test “Composing images of objects” by L.Yu. Subbotin [27, p.22].

Purpose: to study the characteristics of the recreating imagination.

Age: Available for children aged 5-12 years.

Stimulus material: image of a circle, triangle, trapezium, rectangle, on a separate sheet, colored pencils (see appendix 2).

Progress:

The subject is given the following instructions: “Look, there are several geometric shapes in front of you, draw a face using only these shapes. Each shape can be drawn several times and its size can be changed, but other shapes and lines cannot be added.”

Objects to draw: face, clown, house, cat, rain, joy.

Each image takes about 5 minutes. The results are assessed according to a number of parameters:

1. Are all specified objects depicted;

2. Realism of the image;

3. Uniqueness of the image;

4. Use in the image all the proposed figures.

Each item is assessed on a five-point system and is considered total number points. The larger the value, the better developed the recreating imagination.

1 point - for each image that the child designated as the object required by the instructions, even if it is not similar.

2 points - for an image that is rated “it’s possible.”

3 points - for an image that uses all the proposed figures in a harmonious combination.

4 points - for an image that uses all the shapes and is quite realistic.

5 points - for an image using all the proposed figures in an original and witty combination.

Method No. 3 “Sculpture” [15, p.254].

Purpose: to study the characteristics of creative imagination.

Age: Suggested for children from 5 to 10 years old.

Stimulus material: plasticine, modeling board, stack, container with water.

Progress:

The subject is given the following instructions: “Today we will sculpt a sculpture. You need to make any craft you want. Come up with a name and describe it. Get to work."

It takes about 30 minutes to complete the work.

Processing and analysis of results:

Works are assessed in points:

0 points – task not completed;

1 point – came up with and sculpted something very simple from plasticine (ball, cube, etc.).

2 points – a relatively simple craft, in which there is a small number of ordinary parts, no more than two or three.

3 points – the child came up with something unusual, but did not work out the object in detail;

4 points – the invented thing is quite original, but not worked out in detail;

5 points – the invented thing is very original, worked out in detail and has good artistic taste.

Method No. 4 game test “Three words” by L.Yu.Subbotin [27, p. 33]

Purpose: to study the characteristics of the reconstructive and creative imagination.

Age: Available for children from 6 to 10 years old.

Stimulus material: cards with words for work (see Appendix 3)

Progress:

The subject is given the following instructions: “Now I will name three words, come up with several sentences with these words. Each sentence must contain all three words, and together they must form a story. Reading children are given words on cards.

Words for work: palace, grandmother, clown; robber, mirror, puppy;

cake, lake, bed.

Processing and analysis of results:

Each proposal is assessed on a five-point system.

1 point – meaningless combination of words;

2 points – two words have a logical connection, but the third does not;

3 points – banal phrase;

4 points – correct logical combination of words, but not all three words are used in every phrase;

5 points – a witty, original phrase.

2.2 Exercises and games to develop imagination in preschool children

Can be used to develop imagination various games, exercises. Without a developed ability to imagine, there can be no real creativity. It follows that imagination needs to be developed. The most optimal period, the peak of imagination development, is the senior preschool age. Let's consider options for exercises and games that can be used to develop imagination in preschool children.

Exercise No. 1 “Fantastic image” L.Yu. Subbotina

Purpose: used to develop imagination and thinking.

Age: Available for all ages.

Stimulus material: cards with depicted elements.

Progress of the exercise:

The child is offered cards with images of individual elements. Instructions: “Your task is to build a fantastic

image (creature, object). Then describe what properties it has

and how it can be used.

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

Exercise No. 2 “Wizards” L.Yu. Subbotina.

Purpose: used to develop feelings based on imagination.

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

Stimulus material: 2 cards with images of wizards per child, album sheet, colour pencils.

Time: 20-30 minutes.

Progress of the exercise:

First, the child is given the first task. Two completely identical “wizard” figures are offered.

Instructions: “You have two wizards, you need to complete these figures, turning one into a “good” wizard and the other into an “evil” wizard,

After completion, the second task.

Instructions: “Now you must draw the “good” and “evil” wizards yourself, and also figure out what bad the “evil” wizard did and how the “good” one defeated him.”

Exercise No. 3 “Unfinished stories” by L.Yu. Subbotina Purpose: this exercise develops creative imagination.

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

Stimulus material: text “Tricks of a Squirrel”

Time: 10-15 minutes.

Progress of the exercise:

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

Two girlfriends went into the forest and picked a full basket of nuts. They walk through the forest, and around the flowers they seem to be invisible.

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

A basket is hanging on a tree, and girls are picking flowers. I looked out of the squirrel's hollow and saw a basket of nuts. Here he thinks..."

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

Game No. 4 “Pantomime” by L.Yu.Subbotin.

Purpose: used to develop imagination.

Age: from 5 to 11 years.

Time: 10-15 minutes.

Progress of the game:

A group of children stands in a circle.

Instructions: “Children, now, in turn, each of you will go into the middle of the circle and, using pantomime, will show some action.

For example, he imagines picking imaginary pears from a tree and putting them in a basket. At the same time, we can’t speak, we depict everything only with movements.”

The winners are determined by those children who most accurately depicted the pantomime picture.

Game No. 5 “Internal cartoon” M.I. Bityanova

Stimulus material: text of the story.

Time: 10 minutes.

Progress of the game:

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

Game No. 6 “Draw the mood” M.I. Bityanova [2, p. 134]

Purpose: used to develop creative imagination.

Stimulus material: album sheet, watercolor paints, brushes.

Time: 20 minutes.

Progress:

Instructions: “In front of you is paper and paints, draw your mood. Think about how sad it is, or how cheerful it is, or maybe something else? Draw it on paper in any way you want.” (Appendix 1)

Game No. 7 “What does it look like?” M.I. Bityanova [2, p.156].

The age is used for children from 4 to 10 years old.

Stimulus material: cards with blots, “frosty drawings”

Time: 10 minutes.

Progress:

Instructions: “Now I will show pictures, and you look carefully. Then you must say what the images you see remind you of, what they look like.”

Game No. 8 “Reverse Fairy Tale” by I.V. Vachkov.

Purpose: used to develop creative imagination.

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

Stimulus material: heroes of your favorite fairy tales.

Time: 10-15 minutes.

Progress:

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

Game No. 9 “Connect the sentences” I.V. Vachkov.

Purpose: used to develop reconstructive imagination.

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

Stimulus material: unfinished sentences.

Time: 15-20 minutes.

Progress:

The child is alternately offered three tasks in which he must combine two sentences into a coherent story.

Instructions: “Listen to two sentences, they need to be combined into a story. “Far away on the island there was a volcanic eruption...” - “... so today our cat was left hungry.”

“A truck drove down the street...” - “...that’s why Santa Claus had a green beard.”

“Mom bought fish at the store...” - “... so I had to light candles in the evening.”

Game No. 10 “Transformations” I.V. Vachkov.

Purpose: used to develop reconstructive imagination.

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

Stimulus material: game images.

Time: 10-15 minutes.

Progress:

Children are invited to depict playful images in motion.

Instructions: “Imagine that you have turned into a tiger sneaking through the jungle. Picture it in motion." After completing the task, the following is given: “robot”, “eagle”, “queen”, “boiling pan”.

Conclusion

Enough methods and techniques have been developed to study imagination. For each age, a certain set of psychological and diagnostic techniques is used. To study the imagination of preschool children, you can use the following techniques:

“Incomplete figures”, “Composing images of objects”, “Three words”, “Sculpture”, “Drawing”, etc.

Imagination can be developed using specially selected exercises and games: “Pantomime”, “Unfinished Stories”, “Wizards”, “Fantastic Image” by L.Yu. Subbotina; “Inner cartoon”, “Draw the mood”, “What does it look like?” M.I. Bityanova;

“Fairy tales in reverse”, “Connect the sentences” by I.V. Vachkova.

Conclusion

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

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

1) voluntary and involuntary;

2) recreative and creative;

3) dreams and fantasies.

We investigated the functions performed by the imagination:

1) gnostic-heuristic;

2) protective;

3) communicative;

4) prognostic.

It was noted that the activity of the imagination is carried out using certain mechanisms: combination, emphasis, agglutination, hyperbolization, schematization, reconstruction.

We studied the stages of imagination development from early childhood to high school age. Conducted studies on the development of imagination have revealed the dependence of imagination on accumulated experience, impressions received, as well as games and exercises.

We selected psychological methods for diagnosing the level of imagination development (using the example of preschool age), using the developments of E.P. Torrensa, L.Yu. Subbotina, R.S. Nemova.

We described exercises and games that help develop the imagination of preschool children. Authors of games and exercises: I.V. Vachkov, M.I. Bityanova, L.Yu. Subbotina.

Thus, the goal of the work has been achieved, the problems have been solved.

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Sensory adaptation and interaction of sensations. Sensitivity, its dynamics and methods of measurement.

Perception: definition, properties, functions, types.

Theories of perception. Methods for studying perception.

Attention: concept, types, properties. Development of attention.

Methods of studying and diagnostic techniques of attention.

Memory as a mental process. Theories of memory.

Memory: types, types, forms, functions. Individual characteristics of memory and its development.

Memory processes. Methods for studying memory.

Thinking as a mental process: types, forms, operations.

Thinking and speech. Development of thinking.

Theories of thinking. Experimental studies of thinking.

Intelligence: definition and models. Methods for diagnosing intelligence.

Imagination: definition, types, mechanisms. Individual characteristics and the development of imagination.

Imagination and creativity. Methods for studying personal creativity.

Emotions, feelings, mental states. Theories of emotions.

Functional states of the body and psyche.

Emotional stress. Regulation of emotional states.

Will. Voluntary regulation of human activity and behavior.

Motivational sphere of personality and its development. Theories of motivation.

Classification of motives and needs. Methods for studying motivation.

Methodology of experimental study of personality.

Psychodynamic direction in the study of personality (S. Freud, K. G. Jung, A. Adler).

Dispositional theory of personality (Mr. Allport).

Factorial approach to personality research. Structural theory of personality traits (R. Cattell).

Typological approach to personality research (Eysenck).

Social-cognitive direction in personality research (A. Bandura, J. Rotter).

Humanistic direction in the study of personality (A. Maslow, K. Rogers).

The concept of social character in the works of E. Fromm.

Personality research in domestic psychology (B.G. Ananyev, L.I. Bozhovich, A.N. Leontiev, V.N. Myasishchev, S.L. Rubinshtein, D.N. Uznadze).

Psychological characteristics of temperament. Modern models of temperament.

Character, its structure and methods of study. Character formation.

Character accents. Classifications of types of character accentuations (K. Leongard, A.E. Lichko).

Abilities and inclinations. Types and levels of development of abilities. Methods for diagnosing abilities.

Developmental and age psychology

Subject, branches and tasks of developmental psychology. Research methods in developmental psychology.

Conditions and driving forces of mental development. The problem of the relationship between learning and mental development (E. Thorndike, J. Piaget, K. Koffka, L. S. Vygotsky).

Operational theory of intellectual development by J. Piaget.

Epigenetic theory of psychosocial development by E. Erikson.

Theory of mental development by L.S. Vygotsky, D.B. Elkonin.

Mental development in early childhood (infancy and early childhood itself).

Mental development in preschool age. Psychological readiness for schooling.

Mental development in primary school age. Self-esteem and social motives of younger schoolchildren.

Potential crisis of adolescence. Personal development in adolescence and early adolescence.

Peculiarities of mental development during periods of maturity (Sh. Buhler, E. Erikson).

Social Psychology

Subject and tasks of social psychology. Specificity of socio-psychological research.

Attributional processes. Fundamental attribution error.

Social attitudes. Ways to form beliefs.

The relationship between social behavior and attitudes.

Conformism: classical experiments. Types of conformism, manifestation factors.

Aggression: factors of origin and weakening. Theories of aggression.

Emotional aspects of interpersonal relationships: friendship, love, affection. Interpersonal attraction.

Altruism: Personal and situational influences. Theories of altruism.

Prejudice in social relations: antecedents and consequences.

Group as an object of socio-psychological research. Group processes.

Types, functions, causes and dynamics of conflict. Conflict resolution strategies and techniques.

Communication: structure, types, functions, means. Development of communicative competence of the subject of activity.

Pedagogical psychology

Subject, tasks, methods of educational psychology. Basic problems of educational psychology.

Psychological structure of the activities of subjects of the educational process. Comparative analysis of teaching and learning components.

Development of motivation for educational activities of schoolchildren and students.

Basic didactic principles of developmental education by L.V. Zankova.

The theory of developmental learning by D.B. Elkonin - V.V. Davydov.

The theory of the gradual formation of mental actions by P. Ya. Galperin.

The concept of problem-based learning by A.M. Matyushkin.

The theory of sign-contextual learning by A.A. Verbitsky.

Development of professional activity of a teacher. Psychological requirements for the personality of a teacher.

Forms and methods of organizing educational activities. Active learning methods.

Methods of teaching psychology

Subject, goals and objectives of the course “Methods of teaching psychology.”

Types of lectures. Features of the problem lecture.

Features of organizing seminars and practical classes in a psychology course.

Game and training forms of organizing psychology training.

Organization of independent work of students.

Forms and methods of knowledge control in teaching psychology.

Pedagogical technologies of contextual learning in teaching psychology.

Technical means in teaching psychology. Problems of computerization of education.

1. Imagination: definition, types, mechanisms. Individual characteristics and the development of imagination.

Imagination is the mental process of creating an image of an object or situation by restructuring existing ideas. Images of the imagination do not always correspond to reality; they contain elements of fantasy and fiction. If the imagination draws pictures to the consciousness that nothing or little corresponds in reality, then it is called fantasy. If the imagination is directed to the future, it is called a dream. The process of imagination always occurs in inextricable connection with two other mental processes - memory and thinking.

Types of imagination:

Active imagination - using it, a person, by force of will, at his own request evokes appropriate images in himself.

Passive imagination - its images arise spontaneously, regardless of the will and desire of a person.

Productive imagination - in it, reality is consciously constructed by a person, and not simply mechanically copied or recreated. But at the same time, she is still creatively transformed in the image.

Reproductive imagination - the task is to reproduce reality as it is, and although there is also an element of fantasy here, such imagination is more reminiscent of perception or memory than creativity.

Functions of the imagination:

Figurative representation of reality;

Regulation of emotional states;

Voluntary regulation of cognitive processes and human states;

Formation of an internal action plan.

Ways to create images of the imagination:

Agglutination is the creation of images by combining any qualities, properties, parts.

Emphasis - highlighting any part, detail of the whole.

Typing is the most difficult technique. The artist depicts a specific episode that absorbs a lot of similar ones and thus is, as it were, their representative. A literary image is also formed, in which the typical features of many people of a given circle, a certain era are concentrated.

Imagination processes, like memory processes, can vary in the degree of voluntariness or intentionality. An extreme case of involuntary imagination is dreams, in which images are born unintentionally and in the most unexpected and bizarre combinations. The activity of the imagination, which unfolds in a half-asleep, drowsy state, for example, before falling asleep, is also involuntary at its core.

Among the various types and forms of voluntary imagination, one can distinguish reconstructive imagination, creative imagination and dream.

Recreating imagination manifests itself when a person needs to recreate a representation of an object that matches its description as fully as possible.

Creative imagination characterized by the fact that a person transforms ideas and creates new ones not according to an existing model, but by independently outlining the contours of the created image and choosing the necessary materials for it.

A special form of imagination is a dream - the independent creation of new images. The main feature of a dream is that it is aimed at future activities, i.e. A dream is an imagination aimed at a desired future.

The leading mechanism of imagination is the transfer of some property of an object. The heuristic nature of transfer is measured by the extent to which it contributes to the disclosure of the specific integral nature of another object in the process of its cognition or creation by a person.

People's imagination is developed differently, and it manifests itself differently in their activities and social life. Individual characteristics of imagination are expressed in the fact that people differ in the degree of development of imagination and in the type of images with which they operate most often.

The degree of development of imagination is characterized by the vividness of images and the depth with which the data of past experience is processed, as well as the novelty and meaningfulness of the results of this processing. The strength and vividness of imagination is easily assessed when the product of imagination is implausible and bizarre images, for example, among the authors of fairy tales. Poor development of imagination is expressed in a low level of processing of ideas. Weak imagination entails difficulties in solving mental problems that require the ability to visualize a specific situation. With an insufficient level of imagination development, a rich and emotionally diverse life is impossible.

People differ most clearly in the degree of vividness of their imagination. If we assume that there is a corresponding scale, then at one pole there will be people with extremely high levels of vividness of the images of the imagination, which they experience as visions, and at the other pole there will be people with extremely pale ideas. As a rule, we find a high level of development of imagination among people engaged in creative work - writers, artists, musicians, scientists.

Significant differences between people are revealed regarding the nature of the dominant type of imagination. Most often there are people with a predominance of visual, auditory or motor images of the imagination. But there are people who have a high development of all or most types of imagination. These people can be classified as the so-called mixed type. Belonging to one or another type of imagination very significantly affects the individual psychological characteristics of a person. For example, people of the auditory or motor type very often dramatize the situation in their thoughts, imagining a non-existent opponent.

The development of imagination occurs during human ontogenesis and requires the accumulation of a certain stock of ideas, which can later serve as material for creating images of the imagination. Imagination develops in close connection with the development of the entire personality, in the process of training and education, as well as in unity with thinking, memory, will and feelings. Despite the difficulty of determining the stages of development of imagination in humans, certain patterns in its formation can be identified. Thus, the first manifestations of imagination are closely related to the process of perception. For example, children aged one and a half years are not yet able to listen to even the simplest stories or fairy tales; they are constantly distracted or fall asleep, but listen with pleasure to stories about what they themselves have experienced. This phenomenon clearly shows the connection between imagination and perception. A child listens to a story about his experiences because he clearly imagines what is being said. The connection between perception and imagination continues at the next stage of development, when the child begins to process received impressions in his games, modifying previously perceived objects in his imagination. The chair turns into a cave or an airplane, the box into a car. However, it should be noted that the first images of a child’s imagination are always associated with activity. The child does not dream, but embodies the processed image in his activities, even though this activity is a game.

An important stage in the development of imagination is associated with the age when a child masters speech. Speech allows the child to include in the imagination not only specific images, but also more abstract ideas and concepts. Moreover, speech allows the child to move from expressing images of imagination in activity to their direct expression in speech. The stage of mastering speech is accompanied by an increase in practical experience and the development of attention, which allows the child to more easily identify individual parts of an object, which he already perceives as independent and with which he increasingly operates in his imagination. However, the synthesis occurs with significant distortions of reality. Due to the lack of sufficient experience and insufficient critical thinking, the child cannot create an image that is close to reality. The main feature of this stage is the involuntary nature of the emergence of imagination. Most often, images of imagination are formed in a child of this age involuntarily, in accordance with the situation in which he finds himself. The next stage in the development of imagination is associated with the emergence of its active forms. At this stage, the process of imagination becomes voluntary. The emergence of active forms of imagination is initially associated with stimulating initiative on the part of an adult. For example, when an adult asks a child to do something (draw a tree, build a house out of cubes, etc.), he activates the imagination process. In order to fulfill the request of an adult, the child must first create, or recreate, a certain image in his imagination. Moreover, this process of imagination, by its nature, is already voluntary, since the child tries to control it. Later, the child begins to use his own imagination without any adult participation. This leap in the development of imagination is reflected primarily in the nature of the child’s games. They become focused and story-driven. The things surrounding the child become not just stimuli for the development of objective activity, but act as material for the embodiment of images of his imagination. A child at the age of four or five begins to draw, build, sculpt, rearrange things and combine them in accordance with his plan.

Another important shift in imagination occurs at school age. The need to understand educational material determines the activation of the process of recreating imagination. In order to assimilate the knowledge that is given at school, the child actively uses his imagination, which causes the progressive development of the ability to process images of perception into images of imagination.

Another reason for the rapid development of imagination during school years is that during the learning process the child actively acquires new and diverse ideas about objects and phenomena of the real world. These ideas serve as a necessary basis for imagination and stimulate the student’s creative activity.