What type of lesson did Ye Ilyin develop. Center for training teachers for certification. Evgeny Pavlovich Ilyin Psychology of individual differences

“I dream of the time when a new genre of methodology will be born - the artistic publication of a lesson, where a double art will appear at once: a teacher and someone who, observing the picture of the lesson, is able to express this lesson in a picture.”

I really managed not thanks to, but contrary to traditions, to solve one of the key problems of pedagogy - to educate a mass reader (although now they don’t like this word). And in connection with this, or rather, on this basis, decide everything else.
Now the components of success are clearly defined. There are four of them: position, method, teacher, lesson. This is a reader education strategy.

ABOUT POSITION
Analysis literary work should grow into an ethical issue
(1982)
Teaching and educating is like a “zipper” on a jacket: both sides are fastened simultaneously and firmly with a leisurely (!) movement of the lock - creative thought. What should be this "connecting" thought?
Today, the book calls many to literature, I, perhaps, more to life. “I want to understand human affairs…” Gorky's Luke's retort is in some way the “key” to the literature lesson… With these “deeds” the vocabulary is needed and interesting for the children. Knowledge exclusively around the book and only on its basis does not find a response in a huge number of children. The book will lead the book to a dead end if a vital support falls out.
The meaning of a teacher's life is a student! It defines our position, creative principles. Here is one of them: the analysis of a literary work should grow into an ethical problem, and not into a review of everything that happened before and after the book. The school book, I am convinced, is primarily and to a large extent a moral theme, and not a segment of the theory and history of literature.
By the way, I like to build a lesson from two halves: life and a book. One is a reason and a reason to go deep into the other. The halves change places: I often start with a book. This structure gives room for different creative manners. Someone, for example, full force loves and knows how to reveal himself in the first half, and then, obviously, you need to start with her; and someone - in the second. Personally, I'm equally good at both.
In order for the connection between the educational and the educational to be even stronger, it is sometimes necessary to break it and leave the educational in the lesson. This is what I call open ethics.
The lesson reaches its highest peak at the moment when the moral consciousness of the student, his mood, tone are among the main concerns of the teacher. When a linguist educates and teaches by this, and not vice versa. When from “connections”, “synthesises” of the cognitive with the moral, one moves to an open and frank ethics of the lesson, to direct, unsophisticated contact with the student, to human, and not just professional communication with him.
... Before asking her son what he reads in the evenings, the dark, illiterate Nilovna ("Mother") for some reason "washed her hands cleanly." For what? They began to find out. Here, obviously, Gorky's attitude to the book, to which - even mentally! - must be touched with clean hands. Maybe. Well, now let's check how we, educated, relate to books. At the lesson? Certainly. Some will surely regret that this time they came with their tome. And again - to Gorky. How did the son react to the mother's question? He said that he reads books for which ... No. First he asked her to sit down. It is a pity that sometimes we do not catch such “little things” either in books or in life!
Genuine morality lives and manifests itself in small things. They need to be able to see.
K (book) + Y (student) \u003d R (reader)
(1995)
Even in those years, “when I had not yet drunk tears from the cup of being,” when I was just starting to teach, I understood one very important truth: there is not and cannot be an absolutely prosperous fate. Now with your right hand, then with your left hand you are looking for support. And there are only two of them: a loved one and a book. It's good if both are supported at once. But often the one you count on needs even more support. It remains... No, we do not need a book for culture, but to survive, to survive. It becomes a culture later, when we fully feel and appreciate its “shoulder”.
So, having come to school, I was not afraid to add the book to the children's everyday anxieties and concerns, endowing it with an applied (!), pragmatic (!), preventive (!) function. PRI - PRA - PRO (I will allow myself this pun) made it really desirable and necessary.
We will not be reflected with it - it will not be reflected in us either. So, figuratively speaking, we will put Natasha Rostova and Natasha Petrova at the same desk. It will be objected: does a different Natasha Petrova have the right to sit next to Tolstoy's? It has! And this, and that, and the other. We frightened ourselves and the guys with “cultural values” so much that we involuntarily began to forget and lose our value. Yes, Tolstoy is great, yes, this is HE, but we are WE too. Otherwise it won't exist. Putting a “plus” between two values ​​is first and foremost to find a student with all his problems in the book.
The book lives in all times, but "works" - in today's. Only becoming the subject of Human, the book becomes an object of Art. Consequently, the main link (another interpretation of plus) is not in the book itself, but between the book and life, the book and the person. In the “educational” connection, I focus on last word: to study literature is to educate it.
The educational approach really saves the book, because psychologically it requires an undestroyed, undivided whole. The book is a spiritual activity. Work with it cannot be completely transferred to the element of the analytical mind, ignoring the “heart sphere”.

ABOUT THE WAY
On Art - the Language of Art (1995)
In the vocabulary, I am convinced, there are more “writers” than “scientists”. When this is so and when schoolchildren guess it, the age-old problem - to read or not to read - goes away by itself, because mentally the book is already open. It aroused double interest: on the one hand, the art of the writer, and on the other, the teacher, who, having come into contact with this art, not only did not destroy it, but, as it were, merged with it and even increased it.
Not only Pushkin's Hermann, but also the philologist has his own three win-win cards: detail - question - technique.
DETAIL.
In the formula K + Y \u003d W, the function of the integrating plus is superbly performed by an artistic detail. Sometimes one stroke is enough to make the whole (!) book and everyone (!) in the lesson speak. In such an approach, Art really manifests itself: sometimes a whole character is recreated here by one half-torn off button. Pechorin’s “non-laughing” eyes, Kabanikhin’s repeated “well”, Bazarov’s thin ironic lips, Prince Vasily’s “flat” face are strokes that can not only open a page, but also open a book.
The whole frightens, repels, but attracts and leads its part. Maybe we can go from there? A detail, as a student once put it, is a detail with strings. Little things - close-up! is the secret of analysis. When the light of the big dawns in the small, there is an interest in both, and in general, in their connection. Problematic, integrity, imagery - everything, everything is in an artistic detail, a kind of knot of text. In any fabric, a knot is a marriage, in an artistic one - a discovery, a find, thanks to which the guys learn to read a book analytically. At the same time, I tell them: grasping the detail that the teacher gave, be sure to find yours. I can say with confidence and I say: there is no such student and no such book, which would not be connected by a great “trifle” - an artistic detail.
QUESTION.
My question is a special one: mostly unanswered, moral. I ask it as if to myself in the hope of solving it together with the class. What could be more exciting than asking yourself a question, and more significant when it excites everyone! Isn't that the kind of question the writer puts before us?
The questions I ask the class are immediate and long lasting. Sometimes they sound journalistic, confessional and require instant decisions from the guys: let them react, think - that's enough. There is a whole clip in one question that is related to it in meaning and pathos:
- Tell me why Katerinas leave ahead of time and the Barbarians remain; the Bazarovs die and Arcadia prospers; the Bolkonskys perish and the Drubetskys, Bergs, and Kuragins, hung with orders and stars, rejoice; are the Chichikovs blissful and tormented by an impotent desire to “save” their spiritually broken Gogols? Why? Who will explain to me this more than strange regularity?
Students are especially active when they don't have to think. Well, let's try to ask them such questions, after which the hand in arrogant confidence will not immediately throw up, but thoughtfully, slowly begins to draw something ... This, in fact, the reader begins.
CREATIVE RECEPTION.
Neither art nor pedagogy can do without it. With this specific “tool” I was able to plunge the whole class into the book at once. This is how I once formulated the topic of the lesson: who, in my opinion, has more “woman” in it - in Natasha, Marya, Lisa, Helen, Sonya, Vera (based on the novel “War and Peace”)? In my (!) opinion (!) of a woman (!) So the epic has been read from the standpoint of modernity. All and everyone. “Two kilos of text!” as one student put it. And also from a modern standpoint. But the notorious “female images in the novel”, as far as I remember, do not open the novel for the whole mass of guys.
His own, in his own way, for everyone - at the heart of the creative technique. Unlike the stencil and the standard, it gives many paths to the book. So there are just as many ways to enter it and stay in it.

At first glance, Ilyin “freely” handles the work, because he knows it perfectly, as if he wrote what he is talking about. In any case, he “was present” at the birth of a masterpiece or very, very closely knew its creator. He always talks about the book as if all the guys have already read it. In a word, it creates the illusion of equal communication between the parties in the lesson and thereby activates those with whom it works to the maximum. V. Ivanikhin Ilyin enjoys every transition in a conversation, every nuance in a topic. The completeness of communication, looseness in it can create unity and completeness of relationships and mutual understanding, or, conversely, the completeness of their conflict, when suddenly the class splits into groups in order to prove their point of view to each other. In this external dispersion, Ilyin does not select the main topics of conversation. Because he loves such a conversation, because for him all this is life. Is there anything in life that is not important? V. Ivanikhin

ABOUT THE TEACHER
The leader is always more correct and more interesting than the follower (1982)
“The leader, whoever he is, is always more correct and more interesting than the follower!” is our common credo. It is impossible to form a collective of personalities only on the spiritual basis of a teacher. With its help and on the basis of all, a person arises and develops. That is why I set the ultimate and highest goal not to show myself, but to look at the guys and see the collective “I” in everyone. I do not form my likeness in a schoolchild, but I allow him to grow out of himself and out of everyone as a person. However, I often overshadow the student. But not as a teacher, but as a “student”, who, communicating with others like himself, has the right to do so. It is important that the children understand who is blocking them and for what purpose. The dialectic of equality with unequals in this.
Let's think: if a student is able to follow only you, teacher, then without you he will follow someone else. And where the “other” will lead is still unknown. Focusing on the student and his ability to trust himself and follow himself, even when he follows someone, I gradually gave him a guarantee of stability in any life situations. The easiest thing for us teachers is to follow the lead of those who supposedly really want to follow us, but in reality, follow anyone, just not to follow themselves. No, first of all! Myself!
It is important not just to reach out to the student or bring him to this or that problem, but to put him on the very front and decisive plan of the lesson. In monologues, lectures, it is easy for an immature, unerudite philologist to “hide” from the guys; conversation requires culture, knowledge, skill. This is the genre of the lesson, when the teacher is all in the guys, trying to “pull out” them themselves - talented, enterprising.

The teacher is the creator of the most subtle - spiritual - culture (1989)
Once I gave the guys an essay “The teacher they are waiting for ...”. And what? Who are the students waiting for? Clever - yes, erudite - of course; able - definitely. But everyone in the foreground stood: interesting! Original! With imagination! So that at once I would like to write down something very important for him and at the same time look, look at him: at a very amusing and complex play on words, gestures, intonations, facial expressions, postures and pauses. Only in an art lesson and by the means of art can you convince the children that a literature lesson is necessary and interesting, and yourself - of the opportunity to be an artist of your lesson: a screenwriter, director, performer, a demanding critic who knows his own strengths and weaknesses, a literary critic who knows how to scientifically explain his own and childlike interest in the book. The teacher is not only a conductor of knowledge, he is the creator of culture, moreover, the most subtle, spiritual one. As in the theater, he needs a friendly emotional response from those with whom he communicates - the guys. And the book needs a teacher who has mastered artistry as a methodological tool. Only on this foundation will the philologist turn craft into mastery.

Connoisseur - artist - doctor (1995)
To captivate with a book is to captivate yourself. Your students, once reproached me, do not go to Pushkin, Tolstoy and Chekhov, but to you. But first let them come to me, and then we will go further together. So it turns out: you must first arouse interest in yourself, and not in the subject.
My working formula of a teacher's personality: connoisseur - artist - doctor. The absence of one of the components automatically levels out, and often completely crosses out the other two.
ZNATOK.
Why not a subject, they ask me? I answer. The latter is often a rather vague, amorphous figure who knows everything. Except for the book, with which he was prevented from touching by unnecessarily broad information. A connoisseur, on the other hand, is formed differently - on repeated (and many years!), more and more in-depth re-reading of the book with which he goes to his students. There is a certain illusion of co-authorship with the writer, so extensive is the knowledge of the book itself, its nuances, up to the desire (it's scary to say!) To correct something, to correct it. The subject, unfortunately, does not succeed, because often he has nothing to say, except for commonplace truths that wander from one manual to another. Ask any of us, experienced or beginner, what is he concerned about, what worries him, what is he afraid of? FEAR! As if from year to year, from lesson to lesson, it gives less and less knowledge, does not fit and does not fit. The connoisseur is free from this, because, firstly, he knows what he needs (!) to know; secondly, he knows how and with what skills to realize (!) this knowledge.
A teacher-expert grows in the lesson itself. I usually start by putting a notebook with a pencil on the table. Along the way and in front of everyone, I write down the smart, bright things that the guys say to each other, to me, and I to them. Not losing small discoveries is the key to mastery, another way to “enlarge” ourselves with the knowledge that “fixed improvisation” generously gives us (as I would define this kind of work). In addition, let the students see not just something explaining, interpreting, but also a teacher working on himself.
Sometimes I ask:
- Did you like the lesson?
- Yes!
- I'm not very good at it. The notebook, you see, is empty. It turns out that they didn’t say anything special to each other.
I subsequently tell the class about the student who presented the find as a character, as an event in my teacher's life.
ARTIST.
If the method of working with a book about art is the language of art, then how can a teacher not be an artist? Not to know that knowledgeable, experienced people are assimilated, and bright, inventive people are absorbed?! They do not just give, communicate, but present knowledge, do not come, but come to the lesson, preparing for it, preparing themselves. “Getting” yourself at the right moment, “replaying” fatigue, bad mood, weather ailment, twisting, twisting, like a string, in the words of V. Vysotsky, your “weakened nerve” in order to sound at the top of your voice is one of the main creative skills artist teacher.
Artistry is not a whim, not the originality of someone's individual manner, but the most important educational tool, without which neither a book nor a lesson works. The artist knows how and loves to speak with pauses, gestures, facial expressions - the expression that scholasticism neglected. What impresses is what inspires! The artist understands this better than anyone. As well as the fact that you first need to “win”, and only then “direct”: teach, develop, educate. He gives the lesson the main thing: attention. It will be - and we will save the “inveterate” one, but if not, we will lose the good.
DOCTOR.
To tune in to your own wave, it is not enough to be just an artist, you must also be a doctor to no lesser extent. He will once again and in his own way remind that we are working not with the class, the audience, the auditorium, but first of all with the person. So, try everything on him: a topic, a question, a reception, a task ... Do not push with deadlines, do not frighten with volume, do not bend your heads to the desks with ominous frontal surveys, and in general, humanly (I almost said medically) be more humane, kinder. After all, to captivate with a book is to study it without reproaches, threats, edifications. And even without marks, which, at least at the first steps, it is more reasonable to replace with grades. “Today, Misha, you worked like Heraclitus. Well done!" And you can put “excellent” in the magazine tomorrow, or even at the end of the quarter.
A lesson from the position of a doctor is forty-five minutes healthy lifestyle life! The doctor understands that it is impossible to get the student literally at every lesson, without risking someone to injure, nervously and emotionally exhaust. Educational activity, by the way, is more of a problem of energy than methods, in other words, health. Tired books do not read.
If the philologist gives the lesson an artistic word, then the connoisseur - weighty; the artist is visible; and the doctor is gentle, human.
Or: connoisseur - informs; artist - presents; doctor advises. It can be summarized in another way: the first gives the listener, the second - the viewer, and the third - the opportunity to be both in every lesson and all eleven school years.

The director told the class: “By the way, Ilyin himself will lead the literature for you ...” Followed by a deep pause. And got the effect. In the 307th they went “to Ilyin”, as in the BDT to Basilashvili. Excited collective imagination painted a portrait of the coming enlightener: gigantic growth, wild hair, thunderous voice ... The appearance, of course, is romantic, but still somewhat pirate. He did not enter, but somehow ended up in the classroom. Ordinary, non-pedagogical construction. Suddenly he said: "Let's start." From the first lesson, surprise remained forever. The question “What did Ilyin give you?” asked so often that everyone has already learned the correct answer. But this idle question is much more important: what did we take? And they took a lot. That incomparable joy of discovery, creativity, momentary unexpectedly sharp thought, the subtlest nuance. Perhaps a person receives the greatest satisfaction from understanding the other, from the sudden strength of the instant connection of souls ... V.Mazo, graduate of the 307th school

ABOUT THE LESSON
The intriguing ellipsis of the end of the lesson (1982)
If the lesson is everything (!) The beginning and everything (!) The result, homework is a minimum. Leave those of them that promise discoveries, controversial decisions, excite with novelty, for the sake of which it is interesting and joyful to strain the mind. The task is not attached to the lesson, but follows organically from it. Figuratively speaking, together with the guys I “dig” a book and give the “shovel” to them. Part of the lesson, perhaps the most interesting, but unrealized, is the task. Again, it is not necessary to ask - they take it themselves. Only a few guess the capacity of the work and its special difficulty - creative. But this difficulty does not scare. Not only the teacher will judge the sayings - the whole class. Everyone will read their answer aloud. The “survey” will take the form of a kind of tournament, where the guys will show their skills, behind which there is knowledge. They have the right to start new lesson rather than repeat the previous one. Perhaps that is why their interest in the lesson, and in general, in themselves is so great.

To each his own lesson! (1989)
Communicating with the guys, I try to understand the moral orientation of each of them and arrange an unexpected meeting with a literary “double”. How many students in the class, so many opportunities for a lesson that is unique, like the student himself. Each of the thirty (they do not know about it) I give a personal lesson aimed only at him. Sometimes two, three - depending on the degree and nature pedagogical assistance. Usually, not the whole book is involved in the analysis, but only some chapters, pages - we work with the class, not with the student. What if it's the other way around? The pages will be updated every time. Today (!) this one (!) will talk to this one (!), and tomorrow (!) another one (!) will talk to another (!). So I read the whole book page by page (!) The main thing is to reach the addressee. There is nothing more fun (try it!), smarter (try it!), more effective (check it out!) than to build a lesson for one person, seeing everyone and the whole book in front of you. Each lesson should contain the thought: “This is a lesson for you (!) and for him (!)”; “And this is just for you!”

Lesson co-authored with a student (1989)
It is not uncommon today to see a book written by two or even three authors. What about literature class? Why should one teacher pull it out? Like a writer and a screenwriter, why don't we co-write with one of the students? Having learned to work with a teacher on an equal footing, the guys will cooperate with each other in the same way: write home essays in co-authorship, prepare reports, reviews of literary novelties, lectures, disputes, etc. The desire to complement and enrich each other is creatively born co-authorship. This also applies to the teacher.
For example, I don’t like and I don’t know how to make reviews, to inform about what there are no and cannot be discoveries, to tell biographies. But there are students who are clearly superior to me here. Knowing them and my abilities, I gladly go for co-authorship, trusting the student often the best and most part of the lesson. Thematic plan, which he neglected for many years, became organically necessary both as a kind of schedule of the whole system and the sequence of co-authored lessons, and as a kind of report card of his own and student skills, their rational use and improvement. Finally, as a panorama of what each of us has to mutually enrich during many weeks and months of joint work.
In any class there is a student who is able to lead others. To find him and follow him is the wisdom of a teacher. In the joy of co-creation, a sense of common responsibility to literature, the lesson, the school is born.

Lesson method - communication (1995)
School is the world where without human sympathy, mutual understanding, spiritual equality and contact is impossible. A lesson is first of all a MEETING and only then a subject, an analysis, a journal. The first minutes are a confidential, homely conversation. Until the time when you can't live without a book. It was then that the locks of diplomats, bags, briefcases would click, the pages would rustle ... And the conversation about the book would go on at the level of those human minutes that were born by the meeting. This is how my method of the lesson gradually developed – COMMUNICATION. No, this is not a game of good relations, but a way to uninhibit a student so that he learns at full strength, easily and joyfully, reads not only for himself, but to communicate, surprise and delight with guesses, assumptions, discoveries ...
Usually, some of us pile on the student, not giving him a moment's rest; others - on themselves, exhausting themselves in work. Communication eliminates both, giving rise to a certain synthesis of common work, and hence overall result. By the way, it also requires more self-control on the part of the teacher. The longer and better he prepares for the lesson, the more irresistible the desire to speak for himself, to listen to himself. You have to restrain your readiness, causing the initiative of the student. Let him leave the lesson with cheeks glowing with excitement.
Communication ... Not a single head, fearfully drawn into the shoulders. Here we accepted and supported what the school has been fighting for decades - the silent student. In the dynamics of a general, lively conversation, he could not and was not inert, indifferent. And how it is more convenient to speak out: in silence or in a word - let him decide for himself. Phonetic and mental activity do not always coincide. Someday we will understand this and learn, if not to appreciate, then at least to appreciate silence.
Taking advantage of the looseness of almost domestic relationships, in the course of the lesson I tell the guys how I get everything that excited and captivated them, and what they need so that they can do even better than me. Secrets of the teacher - the student! - so I would define this most important facet of the Communication lesson.
I will return again to the formula k + y \u003d h, corrected by the Lesson method. It can be said that an epoch-making rearrangement of the terms took place: y + k = h. It is no longer the book that becomes the primary value, but the student, the hero is not the best of the class, but everyone who is in it. Enlarging the student by rearranging the “terms”, I really opened a wide road to the book. From the standpoint of Communication, he “distributed” literature, “classified” the class, “unpacked” himself and the children, and reached the heights of that contact pedagogy that is capable of solving many problems.

The art of communication
How to get carried away with a book
Birth of a lesson

QUESTIONS

In pedagogy, as in art, one often has to achieve what has already been achieved.
… We can say that everything started from this lesson. And now, when hundreds of open lessons are behind, no, no, yes, and it will take doubt: could you rise above what it was then, at your very first lesson. After more than one year, you are like disciples of yourself. But how joyful and troublesome it is to live and work with an eye on your once taken height.
... At that time I was a student of the philological faculty of the Leningrad State University. Few of us linked our fate with the school. Nevertheless, they practiced. fell to my lot" Railway” N. Nekrasova. And here I am in class! Thirty pairs of eyes with all shades of curiosity are staring at me, at the teacher, who for some reason hastily sat down on the side, at the methodologist's strict, preoccupied face. Something will happen now ... The first lesson is always a duel. Even the presence of "authority" does not save. Imperceptibly laid out notes, a plan, some blanks on the table and - began. As taught, as advised. Suddenly I see: the class, like a poorly put together raft, is crumbling on the waves of my university eloquence. Another minute - and I will give way to an experienced teacher, with all her looks already expressing emergency readiness. But university students are arrogant and proud people. Pushing aside the notes, the plan, I bravely left the table - to the guys. Looking at everyone at once and at one person (compassionate!), I began to read:
Good papa! Why in charm
Keep Vanya smart?..
- Let's stop! From what it is clear that Vanya is smart? Although Nekrasov is great, I don’t want to take his word for it. Perhaps there is some confirmation in the text? Believe me, I know no more than you.
The voices faded, the pages rustled. As if at once, the guys moved to one invisible center - the question. He was not programmed, and the class felt it. For ten minutes together they searched for an answer, which might not have been. However, poets know the value of words! And here it is, the saving hand.
- Vanya is smart! - the chubby girl with pigtails and a bow declared with conviction: “Daddy! Who built this road? he asks his father. It's not just curiosity, it's gratitude! He wants to know the names of the builders...
Many years later I realized: “answers” ​​have a stronger effect on guys than “words”. It was then that the meaning of the question was revealed to me - a trouble-free tool in the complex art of communicating with the guys, the book, with myself, finally.
From the bottom of my heart I began to thank the girl for the happy moment of the lesson. And suddenly he asked anxiously: “Guys! And who knows the names of the creators of the Alexander Column, “ Bronze Horseman"Isaac?" - and began to list the sights of the city. Hiding behind their backs, my sixth graders sat dejected. Now no one had any doubts that the mind and kind heart of Nekrasov Vanya were expressed in the very question to his father, in attention to the benefits and values ​​\u200b\u200bthat the past generations leave us. I began to shame the guys. For their inertia, lack of curiosity, ingratitude. “Smart one who asks!” - accidentally uttered an aphorism, and someone was already writing it down in a notebook. The Methodist, bending his arm, silently pointed to his watch, nodded at the blackboard, where the topic of the lesson was written. And I suddenly started talking about the builders of the Leningrad metro, about those who restored the miracle Petrodvorets destroyed by the Nazis, who, risking their lives, “taught” jet planes to fly ...
We vied with each other to read the author's "answer" to clever Vanya: almost the entire poem. Not me, but the guys did the lesson faster, faster than I could have imagined. Listening to them, I caught my “minute”:
- ... a spectacle of death, sadness
baby heart it's wrong to revolt." Vanya's father reproached the author. And what - maybe he's right? Maybe the child does not need to tell the whole truth?
They argued like adults.
Subsequently, this temporary and temporary “departure” from the topic, unjustified by the strict standards of methods, seemed to me not accidental. Without him, there might have been a lesson in literature, but hardly a lesson in life. And maybe then, with all clarity, he realized the main question for himself: what is more important - to teach literature or to teach literature, creating the human soul with it?

Main principle
The sound mind of a schoolboy opposes abstract knowledge in every possible way, which will not manifest itself either today or tomorrow, neither here nor there. He resists the more persistently, more sophisticated, the deeper and more frankly the teacher himself believed in this knowledge. The relationships that arise in this case are somewhat reminiscent of dueling fights, and not co-creation of like-minded people.
- So what kind of "guest" did Pushkin write? What is it made of? From the material with which you, Vera, will have to deal with all your life ... Well? Why are you silent? Thought is not your friend...
This is a conversation with an eighth grader. Whatever the word, then indeed the shot. Without a miss, but with a return. The class calms down not kindly... Everyone feels on himself the "stone right hand" of Pushkin's guest, who suddenly descended from the pages of a masterpiece and took on the appearance of... a school teacher.
Another lesson - and a new duel. “I’ll turn not into Tolstoy, but into a fat one ...” - glancing (with an “educational” purpose!) At a young man who is lagging behind and obese beyond his age, Mayakovsky’s lines are expressively read by a lexicographer. And in the end - protracted conflict, exasperation of the student, nervous breakdowns of the teacher. There are no winners in school duels.
Vocabulary near chalkboard in another “linguist” it often looks like this. He called someone from the difficult ones, dictates, and he, not suspecting anything, trustingly writes in a column: unprincipled, cheeky, cynical, shameless ... And by the evening, you look, here and there glass is broken, a stand is torn down, a wall is tarnished ... Retribution for “individual” attention! Both the teacher and the school are given resignation at once, and first of all, to that good and kind that is in every young soul.
Alas, supporters of pedagogical repression are not rare at all. And this, of course, is far from beneficial to the authority of teachers, the strengthening of which we are all so concerned about. One of my colleagues, a supporter of the “pedagogical shock” method, I remember, formulated her position in a peculiar way: “At first, everyone needs to be hit hard. And then see whether to add or not.
Teaching is not a fight with a student, but cooperation, communication, excluding “duels”. Search for contact - close and organic. Perhaps this is when the educational dependence between the teacher and the student develops into comradely and even friendly relations. And friendship has its own laws. It cannot be played. It demands equality, not subordination. “What do you think?”, “Advise”, “Help” - he turned to the guys more than once. It used to be for everyone at once. “Some Useful Tips for the Teacher” is an essay that students write at the end of each school year. Another way to get away from conflict situations in which neither I nor they are interested. Goodwill, tolerance, simplicity, humanity, mutual respect are the elements of communication. Does this mean that the teacher cannot express his indignation at the bad, wrong word and deed of the student? Maybe it should! But in humane ways - without irritation, referring to his dignity.
- When I was at school (it was in 1942, in the evacuation), in the magazine there was a letter “o” next to my last name, which meant no shoes, no clothes. And there were many of them in the class. What letter to put today against your last name, Sasha? What do you need? And you, Nadia?
Silence in the classroom. But not hostile - thoughtful and educating.
No, not all conflicts should be avoided. Some, I think, should be treasured. Not in silence and smoothness, in a struggle with oneself and circumstances, the human is born in a person. Communication is a search not only for contact, but also for conflict as a way of education.
Once I suggested that the guys release a literary magazine. They received it with enthusiasm. They chose the editorial board, correspondents. Deadlines were tight - two weeks. They scratched their heads. Some have already regretted that they agreed.
- And what will we have for this? – grinning, asked one, as if it was a question of a coven, a private contract.
- Yes Yes. Really, how did I miss that. Live for a century - learn for a century, - he fumbled in his pockets in confusion, took out his wallet: - Here, I'm sorry, that's all there is. I think it's enough for the first time.
And he put 10 rubles on the desk, where sat the one who wanted to “have” something. The boys didn't even have the heart to look at each other. So I deliberately exacerbated the conflict situation. However, it seems to be for the benefit of both the student and the class.
The purpose of communication as a pedagogical principle, of course, is not only to establish human, friendly, truly working relations between teacher and student. There is another concern, no less important. To solve the most acute problems of the time on a humanistic basis. To educate the soul in a person! Discipline, ideological and political awareness, social and moral activity, responsibility - in the final analysis, the qualities of the soul! Communication, therefore, is not a game of a good relationship, but a tool that helps the teacher in today's difficult conditions to fulfill the social order of society.
A feature of the young is the need for self-affirmation. Hence the eccentricities, outrageous antics of teachers. After another childish “prank”, more than once I had to hear from my colleagues an ultimatum to the student: me or him. With difficulty it was possible to turn the hostile “or” into a reconciling “and” again. Honestly, I love it when students joke. Humor in the classroom is a necessary relaxation, good mood, this is finally a way out of a seemingly hopeless situation. Of course, a joke should not be vulgar and humiliating, and laughter should not be malicious sneer. How, what and what the guys laugh at depends on the teacher. One must know how to wield this double-edged weapon. Jokingly I try to elevate, encourage, protect, help...
- Didn't read the book? Well done! Now you will read it in a completely different way if you listen carefully to me.
- Silence, do not know how to answer the question? Very good! It always happens when you start thinking.
- Didn't write an essay? Do not be upset: the topic did not captivate! What would you like to write about, tell me?
- In principle, you don’t read the textbook - is it boring? I understand you perfectly. Then leaf through something from the critical literature...
- Any questions? – I once asked the guys, having finished the explanation.
- Eat. I did not hear which provocateurs: vile or sad?
- Witty. What a sense of the word! Well done! So you will lead a corner of humor in the school newspaper.
The guys laugh kindly, and the author of the inappropriate joke smiles, in which, however, there was a signal. The lesson this time was not very interesting. By the way, about the signals. Sensitively and in time to catch them is a reliable way not to complicate your relationship with the guys. Any conflict situation is preceded by signals. They are different and manifest themselves in different ways. Sometimes in jest. Sympathizing and even loving, the guys do not accept everything in us.
Communication with a teenager is a test of our wisdom and human maturity. To see vulnerability, insecurity, self-doubt behind the causticity, self-will and stubbornness of adolescents means to understand and love them. And to help each of our students to take place as a person, and himself as a teacher. This is the way we go to them and to ourselves. The main principle of training and education.

Through the pages of a pedagogical notebook
Mysterious and unpredictable memory. Sometimes you spare no effort so that the student remembers this, that, and not the other. But for some reason, “other” is remembered, and “this” and “this” fade into the background.
It turns out that my young colleagues were intrigued (for this reason, apparently, they remembered) a casually dropped phrase: “On occasion, I will somehow tell about Tolstoy’s diaries, Mayakovsky’s notebooks, about my notebooks.” Weeks, months passed. And here is an unexpected request: tell us about notebooks! Frankly, I already forgot about my promise. Seriously, perhaps, I did not think about them: I just wanted to emphasize the role of the writing hand in the development of memory. But the evasive streamlined “on occasion”, “somehow” latently disturbed the guys.
- Well, I'll tell you about Tolstoy's diaries, Mayakovsky's notebooks...
“About your notebooks!” - the class did not let up.
On that day, I realized something important. Firstly, you can’t intrigue with promises, and then forget in the sly hope that the guys will forget about them before you; secondly, a searching, and besides, a writing teacher for children is something more interesting (closer) to Tolstoy himself, Mayakovsky.
...I went to this lesson not with volumes of academic publications, but with notebooks shabby and unsightly from time to time. In a hurry, I often wrote down, along with telephones, addresses of acquaintances, a list of household purchases ... and that cherished, school thing that always kept me under tension and fear: losing a notebook. All read, something? Decided: everything that has to do with me as a teacher. Let it be a lesson in a pedagogical diary or notebook. I wanted to teach the children the art of a truly working and working diary. But let it be not just a conversation and not reading with comments, but a lesson according to all the rules. So we need a theme. Someone suggested: "The mind of cold observations and the heart of sad remarks." No, my humble notes required an unassuming title. “My thoughts, thoughts...” – he whispered to himself, remembering the lines of T. Shevchenko. Or maybe “From the Notes of a Language Teacher”? High-flown. “Across the pages of a notebook?..” This is exactly what you need. Let's specify: pedagogical. And... the lesson of disparate, but connected by one theme "observations", "observations", "thoughts" began. For the sake of brevity, I omit the comments and acquaint the reader only with reflections.

“It is, of course, tempting to introduce a schoolchild to a high spiritual culture. So that, like Nadia Rusheva, he knew Greek mythology, Shakespeare, Bulgakov... Painting and music. Sculpture, architecture. In a word, a lot, but for 17 years old - almost everything. But then, in the morning, let someone lace up his shoes, because sudden morning movements with such a busy head are fraught with trouble...”
“There is a lot to do in the lesson itself and not to be in time for something ... “Something” is the mysterious life of the lesson in extracurricular, extracurricular, household chores.”
“Lessons that the guys are working on at home should not be paid: as failed.”
“Two is pure psychology! You need to think not about who and for what, but why you put it. Any lagging teacher in this sense is a hundred times more unattractive than a lagging student.
“Like boots or a suit, the mark can be for growth.”
“At the lesson, the student mostly sits, but he has to walk. So a path is needed. Interesting - to everyone and everyone.
“Any lesson that claims to take place is the initiative of both sides. Let’s think about the “resultant” of each lesson.”
“The phonetic and mental activity of a schoolchild does not always coincide. Someday we will understand this and learn, if not to evaluate, then to appreciate silence.”
“Techniques are everywhere: in sambo, football, hockey... But in the classroom there is not a single pedagogical one. You'll get bored anyway."
“Bad, inert students, if you work with them inventively, with fiction, do not and cannot exist.”
“What is your main success? they ask sometimes. With my practice, I have proved that every student is interesting and wants to learn.”
“To include a student in a lesson is to arrange everything in such a way that he forgets for a while that this is a lesson and he is in a lesson.”
“I work with the class, just like with a book: I’m looking for a bright student, like a bright detail in a text. From him and with him, connecting the others, I am doing a lesson.
“Young people are just as useful to disturb as it is to reassure. Gunpowder of the soul is our explosive material, and it does not always have to be dry. The literature also has an answer to how to make gunpowder wet.”
“Any initiative is worth attention. Childish - the closest. The schoolboy does not prepare lessons?.. Initiative! And it needs to be explored. There is no such thing as doing nothing! Not busy with lessons, so something else. How can the “other” be connected with the lesson, the lesson and repressed if it is undesirable?”
“Not for a paper “tick”, but for a lively and blond woman who sits in the middle row and does not delve into the complexity of her own and common life- that's who we work for.
“The teacher is limited, and often fruitless in his abilities, if the connection with the class is not expressed in threads connecting him with each one individually.”
“The student knows more about himself than we do about him. Our task is to prove this to him by a lesson (!) to help manage itself without our help.”
“What does it mean to treat a student like a human being? Recognize his weaknesses and, together with him, but imperceptibly for him, overcome them. To deal with the “stages”, “evolutions”, “portraits” of the guys themselves with the same depth and willingness as the fates of literary heroes. Here is a common language for you, i.e. understanding the inner, hidden life of the student, which cannot be simplified even by the slightest. Knowing this, the linguist knows much more than what he came to the guys with.”
“Distance between teacher and student is needed. But this is not a wall that cannot be stepped over, but a step on which the guys must climb and on which they themselves raised us. Otherwise, they may drop it.”
“Yes, a teacher is obliged to study all his life. But before what? The ability to look at yourself through the eyes of the guys at the very moment when they really look at you.
“When I was young, I was worried about what I give the guys; now what do they give me. When they give, and not I, it means that they take more - both by themselves and through me.
“Attention is the most basic human need. In any class there are guys who are in dire need of a word that heals, and not just teaches.”
“The schoolchildren themselves put into our hands a new principle of organizing academic work: communication, i.e. communion to one's spiritual "I" of another person and communion of oneself to his inner world. Both sides are interesting and understand that they are interesting. Well, if it doesn't? Then the guys themselves are not interested in each other, and the teacher, the more interesting he is, the further away from them, and they from him and from each other.
“If a book, according to Herzen, is a “spiritual testament of one generation to another”, then it is necessary not to complicate, but to simplify the already thorny path to it. Especially now, when they are more willing to “read” TV”.
“Literature for a different philologist is like “art for art’s sake”: everything is only on the basis of a book! Life, however, the most complex and important part of spiritual work, is given to the student for spontaneous comprehension. So bring up a harmonious person if there is no main support.”
“I often hear: the main thing is to teach, there will be education! It, they say, follows from the information that we give. But here's the problem: we give more and more, but less and less comes out. In fact, our self-confident “will” does not look so optimistic. It is easier to educate than to educate; it is more difficult to connect one and the other, and in this connection to make it a little ahead of the educational one, without weakening the connection itself, and at all an art.
"Pedagogy of understanding" is not a frontal attack, not boring didacticism. This is the subtlest method of bringing books and life closer together; search for the best points of contact between the experience of a literary hero and a student; faith in the spiritual and creative potential of the student; special art of complex training and education; an attempt to "urgently" arouse interest and attention to oneself and, ultimately, to the values ​​​​of a culture that can answer everything that excites.
“Not only between lessons and after, but also at the lesson itself, there should be “recesses”, where there is a place for a joke, friendly conversation, instructive conversation, etc. When the teacher is interesting in the lesson, in the breaks in the lesson and in the breaks after the lesson, he is the Teacher.”
“Methodology is not a science of how it should be, but an art that convinces how to be bright and ... rational.”
"The lesson failed, but the teacher succeeded - in our business it happens."
“Everything is a pedagogical tool. One does not work, look for another. The most unproductive is the one that is rented.”
“Lessons that the guys are unaware of, i.e. do not prepare for them in advance, they have a special meaning: to exercise in the speed of thinking, the dynamism of communication, in guessing oneself and the teacher. They correspond to the style of today's life, where many spiritual operations have to be performed without preparation.”
“The students willingly go to the lesson, but - to you, and not to Chekhov. And it is necessary that to Chekhov! once reproached. Of course you have to. But let them first come to me, and we will go to Chekhov together.”
“To elevate and offend, to bring together and divide, to captivate and repel - everything, everything is possible with literature!”
“You have to be both demanding and sincere. “The middle is needed,” they tell me. That's right: you must! needed! But to be both is no longer the middle, but the top. Peaks are not easily taken in pedagogy.”
“The real teacher is the one from whom they grow wiser, ennoble, and not the one from whom they simply learn something, learn something.”
“Parents are not chosen - a well-known axiom. What about the teachers? Will the school of the future solve this most pressing of problems? After all, guys often envy each other, because they have different teachers: someone has a good, real one, and the other ... Shouldn’t we give the “other” the right to choose “good” and educate ourselves by the efforts of our own will?
“The difficult, sometimes bitter fate of a male teacher, when he, not at a scientist or administrative, but at an ordinary teacher's desk, with enviable persistence and faith in his own, acquired, proven, asserts himself as creative personality. No personality! creativity! own way! a man at school is a pitiful phenomenon. But how many unaccounted for ways to offend him when he is not in the same harness with everyone, although together with them and towards the same goal he only goes in his own way and his own way.
“Anyone who once worked at a school and suddenly left it - “outgrown”, they say, is cunning. School cannot be outgrown. It's not just a job, it's a way of life. The world where important mediocrity will be unraveled not in months, but literally in a minute. A teacher's day is longer than any other. And you need to do more than others. And so that relatives and friends do not consider him a loser. The school does not keep anyone just like that: it either binds or throws them out. Those who left it are somehow thrown out.
“Inspiration should not leave us, it is programmed with a high, if you want a utilitarian, goal. Today the guys are in the classroom, and tomorrow they will be sellers, doctors, hairdressers ... What they will become - both my and your life depend on this. And society as a whole."
“You can love your geography, physics and be indifferent, let’s say, to chemistry, foreign ... But if you are indifferent to literature, being a physicist or geographer, then no matter how much you love your subject and no matter how well you teach it, you only half teacher. Paradox? No, the originality of the school! Literally educated geographers, physicists, chemists... are those who are open to the educational potential of their subject.”
“Thinking only about the lesson, the teacher fails the school. And vice versa. Is it not from here in the practice of many - no lesson, no school, only halves of both. But you need a whole. Everyone in this sense should be a school director at least a little.”
“It is not true that I oppose myself to a “different experience”. Routine, stillborn, where there is no “lesson”, no “literature”, and even more so a “lesson of literature” - yes, to anyone else - no! But very often and very willingly they oppose myself to me.
“I agree with someone's statement that personality is “energy combined with a high sense of personal dignity”. Oh, this is a capricious dignity! You will not protect it - and the "energy" will go out. And without her, in the world of the most energetic, I mean the guys, we have nothing to do.
"On open lesson, where there were also interns, I gave the class an unusual theme of home composition based on the play “At the Bottom”: “Which of the inhabitants of the rooming house do I (!) sympathize with (!!!)”. Reveal six exclamation marks - that's the whole job. It was a game, but at the same time a very serious task. And then, turning to the guys, he asked: “What do you think: which of the heroes do I sympathize with?” The first to react was ... the literature teacher, who was sitting on the side. “No one!” she whispered to the students. Sometimes even by such “means” they assert themselves at school.”
“I didn’t make radio broadcasts with other students, but I had my own and performed with them. He didn’t circle around the school as a cocky coquette, solving the problems of the lesson, but every day he crossed its threshold and went to his bitter teacher’s table. He did not suck theoretical problems out of a tobacco pipe, but extracted them from living, real experience - his own. I didn’t remember with hurt pride, they say, we were once “Russians”, and to this day and for 44 years I have remained so.
“I was waiting: it’s about to be a free minute. I look back at what I've been through. I will understand the “secrets”, I will tell about them with the system. But everything is on the way and on the way. At work and at work. It is so terrible that it is never made. You have been preparing all your life, and you are not ready. You count on the next 45 minutes, and you do not notice how the years go by. But I am happy that I have always lived and live among the guys, together with them and for them.

Used excerpts from the books of E.N. Ilyin:

The art of communication
Birth of a lesson

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"First of September"

E.N. Ilyin - teacher of literature 307th, then 516th high school Leningrad - St. Petersburg, a well-known methodologist. The new thing that he introduced into didactics will be seen better and more clearly if his method is compared with the usual method of studying writers at school.

The system for presenting new material on literature had a traditional scheme: 1) a biography of the writer, poet; 2) his work is studied and analyzed in large sections, for example, lyrics, civic poetry, fairy tale historical novels by A.S. Pushkin or other writers, poets; 3) general ideas are illustrated by excerpts from the writer's works, quotations from the poet's poems; 4) conclusions are drawn about the artistic features of the works, about the writer's contribution to the history of literature.

There are, of course, options. With this system, the teacher "gives" (transmits) the material, and the student "takes it" if there is a desire to "take it." Very often, the student does not have an interest in reading the work. Not all students read program literature. The negative side of the traditional study of literature: in the first place is the cognitive task, and only then the educational one.In the methodological system of E.N. Ilyin there are a number of findings in the construction of the study of the topic, presented vice versa,
unlike the traditional one. The teacher-innovator sees the main goal of teaching literature in its educational function, and only then - in cognitive. "It is possible to fully intensify knowledge in a mass school only on an educational basis." Rejecting passive methods of teaching ("Remember as it says in the textbook!"), He encourages students to actively search for "their own truth", their own views and assessments of the problems discussed by various methods. Techniques are constantly used, designed for the emotional impact of the literary and poetic produced by the student. "To what extent the work of the mind becomes the work of the soul - this is the criterion for the lesson of literature."

E N Ilyin considers the detail to be the pearl of the text. "Unravel everything with one knot and put it back together in a knot - isn't it tempting? Problematic, integrity, imagery - everything, everything in this knot." Starting from "little things" and "details", the teacher argues, searches, argues, makes mistakes, corrects and comes to big generalizations: from a detail - through a search to generalizations. The search started in the lesson continues beyond it, creative, sometimes game tasks appear.

Particular attention is paid to the replicas, questions of students in the lesson. They express the search for a dispute, doubt, objection, the desire to have their own point of view. Curiosity develops, the student reaches for literature. And the teacher not only teaches, but also learns from schoolchildren. EN Ilyin attaches importance to pedagogical technology. He considers the artistry of the teacher to be the highest educational means. A literature lesson is an art, and a teacher is an artist of his lesson: he is a screenwriter, a director, a performer, and a demanding critic, a literary critic. If this is not the case, E.N. Ilyin, the teacher is dealing with the notorious "gallery of images" of figures, characters, where the philologist-academist suddenly finds himself as one of the "typical representatives" of inanimate, invisible literature.

The importance of communication between a teacher and students in educational work is great, E.N. Ilyin. It is necessary to build a new type of teacher-student relationship, based on "goodwill, wise simplicity, mutual contact and interest." We talked about the experience of an innovator-teacher of literature. But E.N. Ilyin will be taken by a teacher of other subjects. Anticipating such a question, in one of the books he himself answered that his experience should be washed down not only by philologists and not only teachers, because it has been verified by many years of practice and a high stable end result. Undoubtedly, the teacher of any subject will take the educational function of the lesson, which ensures the success of the teacher's work, reception as the node of the lesson, active search work of students together with the teacher as co-creation, communication between the teacher and students as spiritual contact, pedagogical technique as an attribute of pedagogical skill.

Ilyin Evgeny Nikolaevich

November 8, 1929. Innovative teacher, teacher of literature from St. Petersburg, author of the original concept of teaching fine literature.

According to Ilyin, literature is not just an academic subject, but “comprehension of life”, and the analysis of a work is accompanied by “the work of the soul”. The list of program works contains a list of the most important moral problems without deciding which it is impossible to educate a Human. The lesson-problem is characterized by the formulation of an actual, topical, personally significant question, to which the student and teacher are jointly looking for an answer.

Active participation in the controversy of all students in the class is ensured by the teacher's implementation of the "law of three O: charm with a book, inspire with a hero, enchant with a writer."

Slide 2:

Slide 3:

Few people knew that during the Leningrad blockade, 12-year-old Ilyin was seriously contused with a shrapnel in the temple. The boy was treated for a long time, but his speech was difficult. He grew up in a working-class family, his father died at the front, it was difficult to grow up, and it was difficult to study, but nevertheless he graduated from school, then studied at the philological faculty of Leningrad University.

Yesterday's student was literally shaking when he went to the lesson, and left the lesson in a sweat-soaked shirt.

But one day he noticed that as soon as he expressed an interesting thought, his interlocutors, even if they were schoolchildren, stopped paying attention to his speech - and then confidence came, he began to speak easily.

Ilyin already had a family, and he, exhausted in the struggle with himself, left school. Roamed the country. Then he returned to Leningrad. Enrolled in driver training. Started working at a car dealership.

When the time came and Yevgeny Nikolaevich returned to teaching, fate decided to test him to the end - she, apparently, stubbornly led him to discoveries - and assigned him to evening school. From then until today, when he works in a daytime, "children's" school, one thought guides him. He will talk about it much later in a newspaper article: “... Almost all children are “difficult”, only each in his own way. Winning their attention means winning them. But how? That's the whole point."

His whole life is a struggle for attention. Not for discipline, not for silence in the classroom - for attention.

To this question, striking in its accuracy and simplicity - how to win the attention of students - Ilyin answers with the same unexpected simplicity. He says that a literature lesson must be built with exactly the same means by which piece of art. The guys are attentive and active, "when they are spoken to in the language of unexpected tricks, well-aimed details, burning questions ... - in a word, the language of art."

Quotes:

“For some reason, it sometimes seems to me that this is not a lesson for us, but preparation for something very important ...”

"After all, there is no such science - to study life, and Evgeny Nikolaevich, as it were, prepares us for life, in the full sense of the word."

“A writer is a personality in general…”

“When I came to his class for the first time, I laughed. It was fun for me to look at this man, who, gesticulating violently, walked around the classroom. His voice exploded, then subsided, in order to again fly above the class. But that's what draws me to it. He makes you listen even when you don't want to."

“You can talk about Yevgeny Nikolaevich endlessly. But most importantly, it is original. His originality captivated us.”

“Our writer is an extraordinary person. It is felt that he is not just a teacher, he is also a master of his craft.

“Oh, what happiness for me and for all of us that Yevgeny Nikolaevich teaches us literature!”

“I consider meeting with such a teacher of literature just a happy occasion in my life”

E. N. Ilyin - teacher of literature at the 307th, then 516th secondary school in Leningrad - St. Petersburg, a well-known methodologist. The new thing that he introduced into didactics will be seen better and more clearly if his method is compared with the usual method of studying literature at school.
The system for presenting new material in literature had a traditional scheme:

1) the biography of the writer, poet is stated;

2) his work is studied and analyzed in large sections, for example, lyrics, civil poetry, fairy tales, historical stories by A.S. Pushkin or other writers, poets;

3) general ideas are illustrated by excerpts from the writer's works, quotations from the poet's poems;

4) conclusions are drawn about the artistic features of the works, about the writer's contribution to the history of literature.

There are, of course, options. With this system, the teacher "gives" (transmits) the material, and the student "takes" it, if there is a desire to "take". Very often, the student does not have interest in reading the work. Not all students read software literature. The negative side of the traditional study of literature: in the first place is the cognitive task, and only then - educational. In the methodological system of E.N. Ilyin has a number of findings in the construction of the study of the topic, presented "on the contrary", in contrast to the traditional one. The teacher-innovator sees the main goal of teaching literature in its educational function, and only then - in cognitive. Rejecting passive teaching methods (“Memorize as it says in the textbook!”), He encourages students to actively search for “your own truth”, their own views and assessments of the problems under discussion by various methods. Techniques designed for the emotional impact of literary and poetic works on the student are constantly used. "To what extent the work of the mind becomes the work of the soul - this is the criterion of the lesson of literature."
EN Ilyin considers the “detail” to be the pearl of the text. “Unravel everything with one knot and put it back together in a knot - isn’t it tempting? Problematic, integrity, imagery - everything, everything is in this knot "". Starting from the "little things" and "details", the teacher argues, searches, argues, makes mistakes, corrects and comes to large generalizations: from the detail -> through the search -> to Generalizations The search started in the lesson continues beyond it, creative, sometimes game tasks appear.
Particular attention is paid to the replicas, questions of students in the lesson. They express search, dispute, doubt, objection, desire to have their own point of view. Curiosity develops, the student reaches for literature. And the teacher not only teaches, but also learns from schoolchildren

EN Ilyin attaches importance to pedagogical technology. He considers the artistry of the teacher to be the highest educational means. A literature lesson is an art, and a teacher is an artist of his lesson: he is a screenwriter, a director, a performer, a demanding critic, and a literary critic. If this is not the case, says E.N. Ilyin, then the teacher is dealing with the notorious "gallery of images", "figures, characters, where the philologist-academist unexpectedly finds himself as one of the" typical representatives "of inanimate, invisible literature."

“In my practice,” he wrote, “there are many cases when a gesture was more eloquent than a word, and facial expressions in the shortest fraction of a second proved what would have required monologues. Where only a fleeting movement of the soul is needed, even the most penetrating, sincere words do not reach their goal ... I don’t like to stand at the window for a long time when I’m teaching a lesson, and also rush about against the background of the blackboard from window to door. I love to slowly, either with the left or right passage between the desks, to enter the depths of the class, seeing the face of everyone ... The teacher is the same person as everyone else, he can also be influenced environment: rain or shine, drops atmospheric pressure, a sidelong glance of a colleague, an inadvertently thrown insulting word on the bus, etc. The teacher has a solution to this problem as well.”

In Ilyin, we find the methods of "living ethics", the transition of "educational into educational, with some delay reverse process". In addition, holding educational work with the “historical desk”, when the teacher tells the class about the guys who once sat at the same desks, introduces them to their names, thoughts, and finds. Some desks have a whole "list" of interesting students.

Ilyin widely uses the “Writing a book” technique, when the student becomes famous writer or a poet.

He analyzes his work, i.e. the teacher involves the student in the process of experiencing co-creation with this writer.

When studying the works of playwrights at Ilyin's lessons, fragments of theatrical performances are played out, discussions are held about the author's work, the whole class is actively looking for truth in evaluating the work.

Ilyin gives students the skills to use radio, cinema, theater to gain knowledge. He determines for each student his own pace, his own path, taking into account the possibilities of each in the learning process.

The result of the educational process, organized by this talented teacher, is the deep knowledge of the students.

For social educator Ilyin's book "The Art of Communication" is of interest in terms of his experience of communicating with students. In the book, Ilyin reflects that when modern teenager he reads little, does not write poetry, does not keep a diary, spirituality perishes in him. In practice modern methods studying literature, when the "analysis" of works and writers led to the aversion of adolescents to reading books, the teacher takes a different path.

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Distinguishing the process of communication, Ilyin highlights the art of the question. When a child asks a question, the thought comes to life, but when answered, it fades. This is where the art of the teacher should manifest itself - to direct the child on the path of creativity. Students "come alive" when the teacher searches for the truth together with them.

In order for questions-problems to serve as an effective means of moral education, E.N. Ilyin proposed to systematically and deeply study his students (in the classroom, on excursions, in the theater; to study each individual and the class as a whole). According to the deep conviction of E.N. Ilyin, the teacher should be able to "read" the student, to know about him no less than about heroes, writers; work with the student so that he also works actively, creatively. It is important to influence the student with the practical experience of literature.

The answer to the question-problem, its solution in the experience of E.N. Ilyin were organized in the form of a collective search, a collective liberated discussion, a discussion, when each student can express his opinion, ask any question. This is helped by a peculiar formulation of the question: “My question is special. To yourself. And I decide - with the guys. By this I raise them to myself, I myself grow up to them ... What can be clearer than the question asked to oneself, and more significant when it excites everyone.

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In the process of communication between the teacher and the student, it is important, Ilyin emphasizes, to remember the "ethics of the mark." Marking, evaluating the act, the activity of the child plays a particularly important educational role.

"Ethics of the mark. Marks in literature are not at all the same as, let's say, in physics, chemistry: I correct each one with a moral school. I am learning to listen to the student in Tolstoyan style, i.e. hear him and your inner voice... Capture false enthusiasm, pre-prepared ostentatious conviction, someone else's "blush", a personal attitude behind which "other people's opinions are only holy." What is the student thinking about when he speaks? Does he say what he thinks? Or just thinking what to say for an excellent mark? Excellent, but not personal, do not bring joy. high score they appreciate even the timid torture to say something, to clarify, to add something when the rest are silent. The desire to think is already the result! The “difficult” are asked about the difficult - it is easier to make them work. It happens like this: commenting on their answers, the guys themselves put marks on themselves. A sense of responsibility and exactingness to oneself is born in schoolchildren only by the trust of the teacher.

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taking into account the competence of students by the teacher;

reaction to the slightest changes in the individual status of the student;

taking into account the personal identity of students (age, gender, social status, etc.) with the collective nature of education and upbringing;

· the formation and creative implementation of the personal competencies of students and teachers as a long and ongoing creative process that takes place in the educational space of each lesson.

In the spirit of the ideas of the pedagogy of cooperation, E.N. Ilyin described the relationship that develops in the lesson:

individual approach to the student (the teacher must see in the student his own "I");

providing the student with the right to choose his own path, his own pace of development;

creation by the teacher of such a structure of the lesson, where they not only learn, but also communicate, and thereby increase the desire to learn, because it has an incentive to communicate;

application of the initiative methodology, which helps the student in choosing the topics of lessons, essays, disputes.

The advice of E.N. Ilyin to novice teachers about their individual style of pedagogical creativity:

1. Teach according to the program and teach in life.

2. Spiritually grow up to "literary giants" to talk about them.

3. To know your students and to know what they know and can know each individually and all together means to be a Teacher.

4. The wisdom of the lesson is in the coincidence of the pages (teacher and student).

5. Encourage the initiative of the student (this is the wisdom of the profession).

6. Don't copy anyone's style! See how experienced masters teach, and learn from yourself.

7. Don't be afraid to go your own way. Start as you need, as taught, and gradually move away from that to your own creativity.

8. Work diligently and with inspiration on each lesson.

9. Never stop searching so that creativity does not become a template.

10. Put your soul into every lesson.

11. Analyze your lessons (raise the level of introspection as high as possible).

Experimental teacher E.N. Ilyin developed a system of teaching literature as an educational subject that forms a personality. Ultimately, the lesson of literature, according to E.N. Ilyin, is a person who forms the process of joint activity of a teacher and a student on a creative basis and interpersonal communication.

Description of the presentation on individual slides:

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E.N. Ilyin's system as pedagogical technology Literature lessons Prepared by: TSU master's student Sinyavskaya Anastasia

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Relevance "To multiply, and not only to respect the person in the person" E.N. Ilyin Literature lessons occupy a special place in educational process. Usually educational information saturates the mind, but to a lesser extent affects the senses. Here the soul is obliged to “work”, the discovery of moral truths takes place, knowledge is obtained about the world, about oneself. The writer has an amazing opportunity - to open the world to the young, while forming a personality.

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Ilyin Evgeny Nikolaevich was born in Leningrad in 1929; survived the blockade, worked at the factory; graduated from Leningrad State University and worked as a teacher of literature in 84 schools for more than 30 years. In the 1980s he became widely known among teachers. He developed an original concept of teaching literature as an art and a moral and ethical course that helps each student become a Human, based on pedagogical communication. He has published several books about his pedagogical work.

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Qualification parameters of the Ilyin system (according to Selevko G.K. “Modern educational technologies”) By the level of application: private subject. On a philosophical basis: humanistic. According to the main factor of development: sociogenic + psychogenic. According to the concept of assimilation: associative-reflex with elements of suggestion. By orientation to personal structures: emotional sphere (SES). By the nature of the content: teaching + educational, secular, humanistic, general education. By type of management: system of small groups. By organizational forms: traditional class-lesson, group with elements of an individual approach. By approach to the child: personality-oriented. According to the prevailing method: explanatory and illustrative with elements of dialogue, problematic, creativity. In the direction of modernization: humanization and democratization of pedagogical relations. By category of trainees: mass + advanced.

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Target orientations: Moral and emotional education of the individual, in the process of which the necessary training is carried out. Teaching literature as an art.

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Conceptual provisions and hypotheses mastering the basics of the sciences that make up the main content subjects, creates an opportunity for students to form a scientific worldview, views and beliefs necessary modern man; the principle of humanization: the moral potential of books generates special system humanistic knowledge - beliefs; artistry: a literature lesson is built according to the laws of art ( artistic analysis work of art), the law of three O: charm with a book, inspire with a hero, charm with a writer; the principle of teaching education: learning is not the dominant absolute, but component educational programs; in progress learning activities schoolchildren can be brought up with such important personality traits as patriotism, cognitive need, the need for continuous self-education and self-development, emotional sensitivity, aesthetic tastes, moral foundations, respect and readiness for work; go to the guys not only with the topic of the lesson, but with a burning problem; moral categories of communication with a book are more significant than educational and theoretical tasks and exercises; knowledge through communication and communication through knowledge is a dual process of moral development; the very personality of the teachers, class teachers, school leaders, their moral character, ideological and political conviction and pedagogical skills can have the greatest influence on the formation of the personality of students, on educating them the best qualities of citizens of our Motherland; the pedagogy of the philologist is the pedagogy of expression: “word + feeling”; personal approach formula: love + understand + accept + sympathize + help; method of spiritual contact; democracy: communication with the student as a person spiritually equal to the teacher; teacher - subject, artist, doctor; the work and life of a language teacher cannot be divided.

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Content Features: Each work of art, the study of which is included in the program school course literature, contains many moral problems that one way or another are posed in it. The question-problem that serves as the core of the lesson, teacher Ilyin poses in such a way that: a) the question is burning, topical, personally significant for modern students; b) was, if possible, addressed not to students in general, but specifically to schoolchildren of a given class or even to a specific student (student); c) the answer to it, the resolution of the problem contained in the question, required a thorough study of the work, textbook and additional literature, familiarization with the history of the work under study and the biography of the author.

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Features of the methodology The lesson of literature is: - a human-forming process; lesson - communication, not just work, this is an art, and not only training session, life, not hours in the schedule; - a kind of one-act performance with several phenomena, the co-creation of two moralists - a writer and a teacher; - not arguments and facts, but discoveries; - Team work teacher and student on a creative basis, spiritual equality and interpersonal communication.

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Ilyin's pedagogical technique He considers the teacher's artistry to be the highest educational means. A gesture can be more eloquent than a word, and facial expressions in the shortest fraction of a second prove what would require monologues. Carrying out educational work with a “historical desk”, when the teacher tells the class about the guys who once sat at the same desks, introduces them to their names, thoughts, and finds. Some desks have a whole "list" of interesting students. Widely uses the “Writing a book” technique, when a student becomes a famous writer or poet for the duration of the lesson.

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Creative techniques Imagination game + game presentation Law of three O: charm with a book, inspire with a hero, enchant with a writer

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Born in Leningrad in 1929.

Survived the blockade, worked for

factory, graduated from Leningrad State University and more

30 years of experience

teacher at school

literature.

In the 1980s he became widely known in

environment of teachers.

Developed an original concept

literature teaching

based on pedagogical communication. He has published several books about his pedagogical work.

“You can talk about Evgeny Nikolaevich endlessly. But most importantly, it is original. His originality captivated us.”

“Our writer is an extraordinary person. It is felt that he is not just a teacher, he is also a master of his craft.

“For some reason, it sometimes seems to me that this is not a lesson for us, but preparation for something very important ...”

"After all, there is no such science - to study life, and Evgeny Nikolaevich, as it were, prepares us for life, in the full sense of the word."

“A writer is a personality in general…”

• He considers the artistry of the teacher to be the highest educational means.
• In practice, Ilyinaon saw that a gesture can be more eloquent than a word, and facial expressions in the shortest fraction of a second prove what would require monologues.
• In addition, carrying out educational work with the "historical desk", when the teacher tells the class about the guys who once sat at the same desks, introduces them to their names, thoughts, and finds. Some desks have a whole "list" of interesting students.
• Widely uses the “Writing a book” technique, when a student becomes a famous writer or poet for the duration of the lesson.

• When a child asks a question, the thought awakens, but when answered, it fades.
• The art of the teacher is to guide the child on the path of creativity. Students "come alive" when the teacher searches for the truth together with them.
• In order for questions-problems to serve as an effective means of moral education, E.N. Ilyin offered to study his students in depth (in the classroom, on excursions, in the theater; to study each individual and the class as a whole).
• According to the deep conviction of E.N. Ilyin, the teacher should be able to "read" the student, to know about him no less than about the heroes, writers. It is important to influence the student with the practical experience of literature.