The method of visual modeling as a means of developing coherent speech in children.

Visual modeling technique

Today I want to offer an article by M.V. Bezmaternykh, a teacher-speech therapist at the MADOU “kindergarten” No. 135 in Perm, “Formation of coherent speech in children with OHP using visual modeling techniques .” This article is valuable because using the competent techniques described in it, you can develop the coherent speech of any child in home studies.

Mastering speech is a complex, multifaceted mental process; it depends on many factors. Speech activity begins to form only when the child’s brain, hearing, and articulatory apparatus reach a certain level of development.

In children with general speech underdevelopment, all components of speech are not formed:

• sound pronunciation,
• phonemic processes (hearing and sound discrimination),
• poor vocabulary (subjects, verbs, signs),
• grammatical formatting,
• constructing coherent statements.

Since it is difficult for children to formulate a phrase, find words and say a sentence, they do not develop full communication skills.

The above is very significant in the construction of correctional work. It is necessary to use methods that facilitate the process of developing coherent speech, first of all, to use clarity. One of its types is the technique of visual modeling.

We relied on the works of S.L. Rubenstein, L.A. Leushina, D.B. Elkonina, L.S. Vygotsky. It is known that drawing up a story outline allows children to learn ways to program the content of a detailed statement. They learn to establish the sequence and interconnection of the main semantic links of the story.

The joint work of the speech therapist and teachers is very important. To correct the speech of children with ODD, we used a whole system of games and tasks using visual modeling techniques on a specific lexical topic.

At the beginning of the school year, we begin our work with the topic “Vegetables” .

1. First, we form a dictionary of nouns and adjectives . We conduct research on natural vegetables, discussing shape, color, taste, tactile sensations (work is carried out similarly on the topic “Fruits”)

For example, we looked at a turnip and saw that the turnip:

• what shape? (round);
• what color? (yellow);
• tasted it, what is it like? (sweet);
• If your mouth is full of juice, what is she like? (juicy);
• If you press with your hand, what is it like? (solid); A
• where do turnips grow? (in the vegetable garden).

1. . Based on the accumulated vocabulary of adjectives, we form the skill of composing a descriptive story about an object, and for better assimilation we use model diagrams, according to which the child repeats all the signs and remembers them.

• In the game “Describe the Vegetables” we use a diagram for each vegetable. When describing a turnip, children rely on a diagram: the first picture shows a vegetable, then its shape, taste (candy or lemon), tactile sensations (hand) and, finally, the place where the vegetable grows (schematic representation of a garden bed.) The child says: “This is a turnip.” , it is round, yellow, sweet. The turnip is hard to the touch and grows in the garden. A turnip is a vegetable.”

• In the game “Guess what vegetable this is?” We develop an understanding of the gender category of adjectives, enrich the active vocabulary of children with adjectives denoting different characteristics of objects (vegetables), and consolidate the formation of the ability to describe an object (different types of vegetables). Here we use the same diagrams as in the game “Describe the Vegetable,” but we remove the first picture depicting a vegetable, and at the end of the diagram we put a question mark, and the child, listing all the characteristics of the object (vegetable), must name it.

Children love to ask each other such riddles. In the future, the diagrams can be removed, and the children make riddles themselves.

• In the exercise “Where do vegetables grow?” We practice the use of prepositions above and below and at the same time form phrasal speech. Children are given cards with arrows pointing down and up and pictures of vegetables. The child picks up cards and says where this vegetable grows. For example, “Carrots grow underground” or “Tomatoes grow above ground.”

3. Next, we work on the formation of a verbal dictionary in exercise games

• “How does grandpa grow vegetables?”

• "Let's prepare lunch."

• In the first game, How Does Grandpa Grow Vegetables? Pictures and diagrams of work in the garden are given (a figure of a man, a watering can, a shovel, a rake, a basket). Each picture is discussed with the children. The child, relying on the models, says: “Grandfather plants, waters, loosens, fertilizes, harvests.”
• “Let's prepare dinner” picture diagrams (grater, knife, pan, jar, glass). Based on the diagram, the children say: “We take three vegetables, cut them, cook them, preserve them, squeeze out the juice.
• Here you can use the game situation “Help the little fox plant vegetables and cook them.” Show a picture of, for example, a carrot. The child tells, based on two schemes: “We plant carrots, water them, loosen them, fertilize them, and collect them.” “Three carrots, cut them, cook them, preserve them, squeeze out the juice.” This way, the verbal vocabulary is well established, children remember words faster and easier and learn to coordinate nouns with verbs.

The use of visual models contributes to a more accurate and lasting acquisition of word formation skills by children. In Game

• "Delicious juice." The visual diagram depicts a glass with a drop falling into it, with images of fruit around it. An adult asks the children: “What kind of juice do you like?” Answer: “I love plum juice.”

• In the same way, the game “What can be cooked from vegetables?” . The diagram shows a plate with various vegetables around it. The child himself chooses what can be prepared from them. Children are asked questions: “What can you cook?”, “What can you cook?” Sample answers are: “I’m making pea soup,” “I’m making cucumber salad.”

4. In the process of studying objects, we be sure to include vocabulary exercises:

-on the selection of synonyms. For example, “the apple is red, ripe, how can I say it differently, what is it like?” (ruddy);

-on word formation: an apple has a red side, how to say in one word what kind of apple (red-sided); the apple is slightly sour and slightly sweet (it is sweet and sour). If there is any difficulty, we show diagrams (lemon + candy, red + yellow, etc.)

5. At the next stage of training, we introduce a model diagram , according to which the child must independently select and describe a vegetable or fruit (Question mark, color, shape - geometric shapes, size - image of a large object and a small one, hand - what it feels like, tastes - a tongue, a bed or a tree - where it grows, and a pan - what can be cooked).

Individual and choral repetition of phrases and sentences helps to consolidate patterns of word agreement and various syntactic forms in children's speech.

After examining the diagram, you are asked to tell the story based on an example from an adult. The adult's description is accompanied by the movement of the pointer along the model's diagram, thereby providing an example of how to use the model. This outline helps create a complete, coherent narrative story.

Also, using diagrams, you can learn to retell fairy tales and stories.

Geometric shapes were used as . We discuss the selection of geometric shapes with the children.

At the first stages of work, the number of figures should correspond to the number of fairy tale heroes. In the future, we will offer more figures so that children can choose on their own. We select substitutes and place them in the required sequence.

From the fairy tale "Turnip" . An adult asks the children: “What figure does a turnip look like?”, “What figures can be used to represent a grandfather and grandmother?” etc. When telling a fairy tale, we lay out the geometric shapes in order. It is convenient to use paper circles and squares as substitutes, varying in color and size depending on the differences between the characters.

We paste the selected substitute items onto paper and make them in the form of little books . Children enjoy reading such books to each other.

Thus, introduce visual models into the learning process, and this will allow children to more purposefully develop their speech and enrich their active vocabulary. Children will strengthen their word formation skills, develop and improve their ability to use various sentence structures in speech. They will be able to describe objects, compose stories, i.e. develop and improve coherent monologue speech.”

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• Does your child like to tell stories?
• How do you develop your baby's coherent speech?

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Imagination and visual modeling

Imagination and visual modeling

There is an opinion that visual modeling is imagination in the field of scientific knowledge. But the functions of imagination in scientific knowledge are not limited to the construction of visual models. Imagination is also actively manifested in a thought experiment, which includes modeling as its component, but is not limited to it. However, the creation of visual models is the most important function of imagination in the process of scientific knowledge.

The concept of a model. Types of models.

A model is understood as such a mentally represented or materially realized system that, by displaying or reproducing an object of study, is capable of replacing it so that its study provides new information about this object.

All models can be divided into two types: material models and ideal (mental, imaginary) models. Both are connected to each other. An ideal, or mental, imaginary model can be a prototype of a material model, like its plan that precedes the creation of some sample. In turn, the material model can serve as the basis for reforming the ideal content and creating an ideal model.

Imaginary model and imaginary representation

A mental (imaginary) model is understood as a mental activity in which a sensory image of the imagination, formed with a research task, and scientific abstraction are fused together. Since imaginary models belong to the class of imaginary images, they have some common features. This includes such properties as the transformation of an image in a visual sense, the formation of an image that is partially or completely unobservable and that corresponds to certain tasks of activity or cognition.

But not every scientific idea, which is a product of the imagination, can be classified as an imaginary model. The imaginary model is characterized by specific features associated with its replacement functions. An imaginary model in science necessarily acts as a means of research, serving the acquisition of new knowledge. An object acts as a model only insofar as it is correlated with the phenomenon being modeled, represents it and serves as a means of cognition.

Visual representations, acting as an imaginary model, are formed from several operations. The most important procedures are the operations of abstraction and generalization, analysis and synthesis, which grow on the basis of practical activity and are closely related to the mediating role of the word, realizing the unity of ideas with the concept. Abstraction and generalization, analysis and synthesis in representation do not always lead to the creation of an imaginary model; the result of these functions can be a visual generalized representation (tree, house, and so on).

An imaginary model is not the result of any specific operations other than those used in the development of imaginary ideas. Both the imaginary model and the imaginary representation are the product of the same forms of activity. The peculiarity of visual representations to act in a model function depends on the specifics of its relationship to a certain range of phenomena. Having been formed as a result of the reflection of an object, a visual representation can be compared with phenomena that are not directly the object of this representation, although they have a certain similarity with it. A representation acts as an imaginary model only if it realizes the function of substitution, representation, that is, a function that is absolutely necessary for any model. It (the idea) is formed by the subject to solve a cognitive problem for the indirect study of objects when their direct study is difficult or impossible. This kind of function can arise only under the condition of mental comparisons of ideas with objective phenomena. In a representation taken by itself there is no model correlation; it arises from the use that the idea acquires in the course of the mental activity of the subject.

The implementation of the model function of visual representations necessarily requires their external expression in some kind of material means (diagram, drawings, images), due to which they become publicly accessible and communicable. If the function of a model is a visual representation, then it must be accessible to other people and accessible in the form in which it exists for the individual. In the case when language means are used to express a visual model, they must not only convey some mental content, but also necessarily express the visual form of the model representation through a description.

The model nature of a visual representation, its representativeness is associated with its hypothetical nature and depends on how, through thinking, the subject correlates this representation with a certain phenomenon.

Visibility is not reduced either directly to observability or to the reproduction of observation results. You can only reproduce what has been observed. Visibility is inextricably linked with the construction of imaginary models from the data of sensory experience, from sensory elements with the leading role of thinking. It (visibility) is a necessary component of displaying internal structures that are fundamentally inaccessible to the senses. In relation to these aspects of the object, the visual representations being constructed are models, since the created image reproduces the features of the phenomenon in a form other than that of the object itself. Visual representation has the function of substitution and representation. A specific feature of imaginary models when reflecting observed structures is to highlight certain elements in an object and, with their help, to recreate the nature of the internal structure of the object.

An example of imaginary models can be models of elementary particles, in particular models of the atom and its constituent components. It is known that elementary particles have a special nature. This feature lies in the fact that these particles simultaneously have both corpuscular and wave properties. Moreover, according to the Heisenberg uncertainty principle, the more certain the momentum of a particle and its energy properties are, the less certain its coordinate, that is, its position in space, is. Conversely, greater certainty of the coordinate is associated with less certainty of the momentum. The contradictory nature of elementary particles has presented researchers with the problem of visually modeling them. Some physicists saw a way out in abandoning the principle of visibility. However, the principle of visibility remains necessary in cognition. It is determined by a number of circumstances.

A visual (imaginary) model is a means of correlating logical knowledge with an object. In modern physics, the share of mathematical tools has increased significantly, especially in the study of quantum mechanical phenomena. Since the object appears here in the form of mathematical equations and the possibilities of its observation are greatly limited, a tendency is generated to deny the objective reality of microphenomena. A visual model acts as a substitute for a real object and serves as a means of comparing mathematical formulas with objective reality.

Visual (imaginary) models serve as a factor in the development of theory. By modeling the area of ​​some new phenomena that we observe, we, as it were, “throw a bridge” from an existing theory to a new one, that is, imagination functions as a means of transferring knowledge from one area to another.

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The method of visual modeling as a means of developing coherent speech in children.

Message “Visual modeling method

as a means of developing coherent speech in children"

Children of preschool age, and even more so those with speech disorders, as a rule, are distinguished by insufficiently developed skills in constructing a coherent statement.

Based on the results of diagnosing the level of development of this skill in children, the following disadvantages can be noted:

• coherent statements are short;
• are characterized by inconsistency, even if the child conveys the content of a familiar text;
• consist of separate fragments that are logically unrelated to each other;
• the level of information content of the statement is very low.

In addition, most children actively share their impressions of the events they experienced, but are reluctant to take on the task of writing stories on a given topic. Basically, this does not happen because the child’s knowledge on this issue is insufficient, but because he cannot formulate it into coherent speech statements.

One of the ways to plan a coherent statement can be the TECHNIQUE OF VISUAL MODELING.

Using visual modeling techniques makes it possible to:

• independent analysis of a situation or object;
• development of decentration (the ability to change the starting point);
• development of plans and ideas for a future product.

In the process of teaching coherent descriptive speech, modeling serves as a means of planning utterances.

The visual modeling technique can be used in working on all types of coherent monologue statements:

• retelling;
• compiling stories based on a painting and a series of paintings;
• descriptive story;
• creative story.

MODEL ELEMENTS

While using the visual modeling technique, children become familiar with a graphical way of presenting information - a model. Symbols of various types can act as conditional substitutes (elements of the model):

• geometric figures;
• symbolic images of objects (symbols, silhouettes, contours, pictograms);
• plans and symbols used in them;
• contrasting frame - fragmentary storytelling technique and many others.

geometric figures are used as substitute symbols

, their shape and color resembling the item being replaced.
For example, a green triangle is a Christmas tree, a gray circle is a mouse, etc. At subsequent stages, children choose substitutes, without taking into account the external features of the object. In this case, they focus on the qualitative characteristics of the object (evil, kind, cowardly, etc.). As a model of a coherent statement, a strip of multi-colored circles
- the “Logical Kid” manual.

Silhouette images can serve as elements of a story plan based on a landscape painting

its objects, both those clearly present in the picture, and those that can only be identified by indirect signs.

The following are used as substitute symbols when modeling creative stories:

• subject pictures;
• silhouette images;
• geometric figures.

A visual model of an utterance acts as a plan that ensures the coherence and sequence of the child’s stories.

Experience in working with children with speech impairments has made it possible to identify some effective techniques for visually modeling a coherent utterance, the use of which increases children’s interest in this type of activity and allows one to achieve significant results in correcting the speech of preschoolers.

RETELLING

The simplest type of coherent utterance is considered a retelling.

Retelling involves the ability to identify the main parts of the text heard, connect them with each other, and then compose a story in accordance with this scheme. A visual model acts as a story outline.

Work on developing the skill of retelling involves the formation of the following skills:

1. mastering the principle of substitution, that is, the ability to designate characters and main attributes of a work of art as substitutes;
2. developing the ability to convey events using proxies (subject modeling);
3. transfer of a sequence of episodes in accordance with the location of substituents,

and begins with telling familiar short fairy tales, such as “Turnip”, “Kolobok”, etc. In order to teach a child to consistently present the plot of a fairy tale, visual models of the fairy tale are used. At first, children learn to create models that accompany the reading of a fairy tale by a speech therapist. For example, a speech therapist tells children the fairy tale “Turnip,” and the children gradually introduce symbols that stand for the heroes of the fairy tale. At this stage, it is necessary to ensure that the manipulation of the model elements corresponds to the fragment of the fairy tale that is being heard at the moment.

Elements of the model can be pictures depicting fairy tale characters, then they are replaced with substitute symbols (silhouette images or geometric shapes). Gradually, children move from simply manipulating the elements of the model to drawing up a spatial dynamic model, which directly serves as a retelling plan.

STORY BY PLOT PICTURE

Children have significant difficulties when composing stories based on a plot picture. Story based on a plot picture

requires the child to be able to identify the main characters or objects of the picture, trace their relationship and interaction, note the features of the compositional background of the picture, as well as the ability to think out the reasons for the occurrence of a given situation, that is, to compose the beginning of the story, and its consequences - that is, the end of the story.

In practice, “stories” independently compiled by children are basically a simple listing of the characters or objects in the picture.

Work to overcome these shortcomings and develop the skill of storytelling from a picture consists of 3 stages:

1. highlighting fragments of the picture that are significant for the development of the plot;
2. determining the relationship between them;
3. combining fragments into a single plot.

At this stage of the work, the following manuals are used: “Logical Baby”, “Limpopo”, “Bring the Picture to Life”. Somehow Sunny’s temperature rose. It went to the doctor, and along the way its hot rays touched everything. The sun touched the snow cloud, and it turned into a white fluffy cloud. The Sun touched the icicles on the roof, and droplets dripped from them, the droplets rang loudly. The beam hit a snowdrift, and a thawed patch appeared in this place. The sun touched the tree branch, and the first leaves appeared from the swollen buds. And when a ray of sun touched the bird, it sang a cheerful song. The Sun looked around, and instead of winter, SPRING came on earth.

The elements of the model are, respectively, pictures - fragments, silhouette images of significant objects of the picture and schematic images of fragments of the picture.

Schematic images are also elements of visual models, which are plans for stories based on a series of paintings.

When children master the skill of constructing a coherent statement, creative elements

– the child is asked to come up with the beginning or end of a story, unusual characters are included in a fairy tale or the plot of a picture, characters are assigned qualities that are unusual for them, etc., and then compose a story taking these changes into account.

STORY-DESCRIPTION

landscape painting

Stories are a special type of coherent utterance

-
descriptions
of a landscape painting. This type of story is especially difficult for children. If, when retelling and composing a story based on a plot picture, the main elements of the visual model are characters - living objects, then in landscape paintings they are absent or carry a secondary semantic load.

In this case, natural objects act as elements of the story model. Since they, as a rule, are static in nature, special attention is paid to describing the qualities of these objects. Work on such paintings is built in several stages:

• highlighting significant objects in the picture;
• examination of them and a detailed description of the appearance and properties of each object;
• determining the relationship between individual objects in the picture;
• combining mini-stories into a single plot.

As a preparatory exercise in developing the skill of composing a story based on a landscape painting, we can recommend working with the “Bring the Picture to Life” manual. This work is like a transitional stage from composing a story based on a plot painting to telling a story using a landscape painting. Children are offered a picture with a limited number of landscape objects (a swamp, hummocks, a cloud, reeds; or a house, a vegetable garden, a tree, etc.) and small images of living objects - “animations” that could appear in this composition. Children describe landscape objects, and the colorfulness and dynamism of their stories is achieved by including descriptions and actions of living objects.

For example, a simple description of a swamp will look something like this: The swamp is quiet, the water is like a black mirror, only hummocks peek out of the water. There are reeds around the swamp, they sway in the wind. It's raining.

And here is the story with the introduction of living characters: The swamp is quiet,
the water is like a black mirror, and a yellow fluffy duck glides along it, she teaches her ducklings to swim.
The dragonfly looked into the mirror water, like a small airplane froze in the air. The reeds shake their heads, they greet the green frog. He jumped out onto a hummock and enjoys the warm summer rain. The work on other pictures proceeds in a similar way. “Animations” are easy to apply and remove, can be included in different landscape compositions, different living objects can be present in one landscape, which allows, using a minimum amount of visual material, to achieve variability in children’s stories based on one landscape composition.

FRAGMENTARY STORY FROM A LANDSCAPE PICTURE

To increase the effectiveness of work on developing the skill of composing stories based on a picture, we can recommend the technique of fragmentary storytelling, when children first compose stories about individual characters (fragments) of the picture, and then combine them into a single statement. The picture proposed for the story is divided into 4 parts, which are covered with cardboard rectangles of different colors. The child, gradually revealing each of the 4 parts of the picture, talks about each fragment, combining them into one plot. Work on each of the fragments is similar to the work on compiling a description of the whole picture. Variation in children's stories is achieved through their choice of the color of the rectangle that they open first.

COMPARATIVE DESCRIPTION OF ITEMS

In developing the skill of writing descriptive stories, preliminary compilation of a description model is of great help. In the process of teaching coherent descriptive speech, modeling can serve as a means and program for analyzing and recording the natural properties and relationships of an object or phenomenon.

The basis of a descriptive story is made up of specific ideas accumulated in the process of studying the object of description. The elements of the descriptive story model are symbols that stand for the qualitative characteristics of the object:

• belonging to a generic concept;
• size;
• color;
• form;
• constituent parts;
• surface quality;
• the material from which the object is made (for inanimate objects);
• How is it used (what benefits does it bring)?
• Why do you like (dislike)?

Using this model, it is possible to create a description of an individual object belonging to a specific group.

Mastering the technique of comparative description occurs when children learn to freely operate with a model for describing individual objects or phenomena. Two or three children or subgroups of children make up a model for describing two or more objects according to plan. In this case, the description symbols are laid out by each subgroup in their own hoop. Then, at the intersection of hoops (Euler circles), identical attributes of objects are identified. Children compare objects, first determining their similarities and then their differences.

COMPARATIVE DESCRIPTION OF THE FOX AND THE HARE

The fox and the hare are wild animals. The hare is small, and the fox is larger. The hare has gray fur in summer, and the fox has red fur. The hare is a herbivore, and the fox is a predator.

CREATIVE STORY

Often, a visual model serves as a means of overcoming a child’s fear of constructing creative, coherent
stories.
This type of statement presupposes the child’s ability to create a special idea and develop it into a complete story with various details and events. The child is offered a model of the story, and he must endow the elements of the model with semantic qualities and compose a coherent statement based on them.

This skill is the opposite of the skill of composing paraphrases. Transitional exercises from modeling retelling to composing creative stories can be the following:

• guessing an episode by demonstrating the action;
• storytelling to demonstrate actions to adults;
• The sequence of work to develop the skill of composing a coherent creative statement is as follows:
• the child is asked to come up with a situation that could happen with specific characters in a certain place, the model of the story (fairy tale) is set by the speech therapist;
• the speech therapist suggests specific characters in the story, and the child comes up with the spatial design of the model independently;
• specific characters are replaced by their silhouette images, which allows the child to show creativity in the characterological design of the characters in the story;
• the child is asked to compose a story or fairy tale according to a model, the elements of which are vague substitutes for the characters in the story - geometric figures; the speech therapist sets the theme of the story: for example, “A Spring Tale”;
• and finally, the child independently chooses the theme and characters of his story.

The presented methods of work make it possible to increase the effectiveness of speech correction for preschoolers suffering from speech underdevelopment, but can also be used in working with children who do not have developmental deficiencies as a means of increasing interest in this type of activity and optimizing the process of developing coherent speech skills in preschool children.

Gradually mastering all types of coherent utterances with the help of modeling, children learn to plan their speech.